The television scriptwriter and playwright Keith Dewhurst adapted Thompson’s trilogy into two plays, Lark Rise and Candleford, which were performed in the Cottesloe auditorium of London’s National Theatre in 1978–9. Dewhurst’s concept was to reflect the familiarity, one for another, of the village inhabitants by staging the plays as a promenade, with the theatre seats removed and the actors, musicians and audience intermingling.

The books describe village life through the seasons of the year, but for the plays Dewhurst selected just two days: the first day of harvest for Lark Rise and the first hunt meet of the new year, a winter’s day in January, for Candleford. For both plays he drew on Thompson’s own introductions to set the scene and, movingly, her reflections on the fates of her characters from the perspective of the future – a future in which many of the boys just depicted had died in war – as a coda. As the plays ended the audience, suddenly torn from their participation in the re-created world, recognised the value of a way of life, close to the land and countryside, that they could never know for themselves. “It will send most spectators out wiser and happier human beings...one of those rare theatrical occasions with a genuine healing quality”, wrote theatre critic Michael Billington of The Guardian.