Barnbow Canaries

This was a very special evening as this production was being presented in a building not a stone's throw from where the Barnbow Munitions Sheds were situated.

Let me explain - during WW1, women and girls all over the country were drawn into working in munition factories, making shells for the men at the Front - 'the women behind the shells', as they were known. Barnbow employed many women and although they may not have faced the German guns, they did face peril; slow death by TNT poisoning that turned their skin yellow, or death by accidental explosions, which is the theme of this play and based on a true story. Whitkirk Arts Guild took on this project because of their close proximity to Barnbow and they should feel proud with their production. Skilfully directed by Gail and Mike Jackson, they brought together some sterling performances from their cast and wove the story through many different settings seamlessly. On a relatively small playing area, the well-drilled cast moved furniture and props with great effect - monitors displayed changes in action. This interpretation, mixed with songs of the period, made for greater audience understanding of what these women went through. We had the feisty Agnes, played with sincerity by Laura Wilkinson, her sister, Edith, played by Heather McDermott, just 16 years old in the play, was convincing in her role. Jane Gulliver was the interfering mother, Florence, Kate Bentley represented the managerial and strict, Miss Sparrow and  Ann-Marie Mallinson, poignantly played the vulnerable Swifty. Amongst the women, we did have the men represented - factory floor boss and jobs-worth Parkin, played by Keith Speight, Victor, the shy would-be soldier played by Matthew Jacksonn, Bertie, by Nick Jackson and the Doctor by Sean Robinson - they were all excellent in their roles. Other workers (munitionettes) were played by Helen Thomson, Keeley Row, Sheila Jameson and Trish Thomson, packing TNT into shells, which was fascinating to watch.

The musical director was in the safe hands of Louise Norbury-Robinson. As always with Whitkirk productions, the technical side was well managed by Andy Thomson. Lighting and sound was stylishly produced by Ian Thomson, with authentic props by Tim Bigland. Costumes had been well researched by Laura Wilkinson and Claire Jackson and looked real.

The play was written by Alice Nutter and first produced at the (now) Leeds Playhouse last year - there was some criticism that the characters were written too broadly, but I disagree with this comment - here was a play which highlighted a tragedy that was not made known to the public until after the War and written as a heartfelt salute to these remarkable women. A memorial to them still stands proudly in Manston Park, Leeds. How proud they would have been to see their lives so beautifully portrayed in this very fine production.  

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