[In Far to Go] Noel Streatfeild skilfully conveys the stringent professionalism of the serious theatrical child: she communicates the total involvement behind the scenes and on stage that can transform even the performances of "tawdry, seedy, bad actors" into something which compels belief. She is slightly less successful, however, in sustaining a sense of period atmosphere, despite her colourful evocations of fog-swathed streets and horse-drawn cabs.

The story is slight but well structured, and lively enough to ensure a wide appeal. Its brisk pace quickens to the excitement of chase and melodrama when Margaret is abducted by the now insane ex-matron of her old orphanage…. Satisfyingly Margaret displays more fighting spirit than many authentic Victorian story-book heroines might have done in similar circumstances. Throughout Far To Go the robustness of Margaret Thursday has a modern rather than a Victorian flavour.

Mary Cadogan, "Victorian Melodrama," in The Times Literary...