Brassed Off

Brassed Off is set in fictional Grimley, Yorkshire in 1994, ten years after the miners’ strike. There is uncertainty in the community due to the pit being under threat of closure, despite being profitable.The dilemma of whether colliery workers desperate for money to support their struggling families should opt for a lucrative redundancy deal threatens to divide the locals. Only the pit’s brass band has remained constant through strikes, war and depression, an essential distraction to help the miners forget their troubles—if only for a short time.

Some may argue that the story of a colliery brass band whose future is threatened by an impending pit closure is no longer relevant to today’s society. However, this piece reminds us of the stark effects of living in poverty and how the uncertainty that it brings affects people’s lives; sadly, a situation seen all over Britain today, not to mention experiencing political turmoil too.

Director, Mark Rosenthal, adroitly pieced charm, flow and humour with copious pathos beautifully and delicately together in a production which lays into the emotions and regularly left us chocking back the tears. There’s a lot of sadness in the show, but it’s coupled with exactly the right degree of humour and fun. The Yorkshire setting makes it a welcome and accurate representation of the time and the cast’s strong delivery, focusing on what makes us human and what helps us cope, provides an incredibly inspirational and uplifting piece.

Stuart Forbes adds a healthy injection of humour into the first act with his portrayal of the cheery yet much feared bike-riding band leader, Danny. As the production progresses and his health deteriorates, we witness the desperation of a man clinging on to his dreams. Stuart delivers a poignant performance that both brings you back to reality and inspires in equal measure.

A gripe of mine which commonly rears its head in this title and hinders the presentation is the evident clear split between the actors and the musicians, the skilled Whitworth Vale and Healey Brass Band complements the story well, and not just from supplying the rousing music. This was the most seamless and successful amalgamation of brass band and actors I’ve witnessed at any production of Brassed Off, it wasn’t just left to the actors to capture and render the range of emotions and themes explored, everyone (including the band members) were in character and formed a supporting ensemble ensuring there was no divide or clear split of actors / musicians that’s so regularly exposed. Excellent. 

As you’d expect, high emotions are prominent with many of the characters within this piece. The tendency to shout and appear exceedingly stressed is a natural go to if your character is experiencing crisis so is absolutely correct for moments within some of the scenes to portray a degree of rage, I’d personally have appreciated the level of yelling to be reduced in parts. If moments are portrayed as exasperated as the previous one the deeper root of the emotion is in jeopardy of being drowned out and it can become a struggle for us to focus on what’s actually being spoken. When someone rants and screams in anger people tend to focus on the emotion over and above the words themselves resulting in us losing parts of the story’s progression, finding a blend of rage with quieter exhaustion would expose a stronger dramatic result. 

Paul Dawson put in a significant act as Phil who dealt with the humour aspects, delicate and hard-hitting themes of his story with aptitude. Contributing to the light relief, of which this play so brilliantly balances against the degree of angst, is Mike Sammon and Keith McEvoy as the lager louts with no backbone, Jim and Harry, firmly under the thumb of their wives (and Danny) who relished every joyous and awkward moment with aplomb. 

Elliot Mills returns to the PADOS stage and is evidently a young chap who’s caught the show bug and for that we’re wholly thankful! He’s shaping into a fine young performer indeed. His narration of the show as cheeky lad Shane tugged at the heart strings, just as you thought you’d managed to hold the tears back throughout the performance he hits you with his address to the audience in the show’s final scene. Just magic! 

The stage design worked perfectly for the tiny playing area leaving just enough room for the action to convey without seeming too cramped, I have no doubt that Mark and his cast members beg to differ, though space restrictions didn’t appear to be causing difficulties from the audience’s perspective. 

Andy and Gloria were well matched played by Gavin Stemper and Hannah Binns. Each portrayed their roles naturally and with sincerity, Hannah demonstrated the hunger and determination to save the pit and her feelings for Andy transpired well, the cherry on top was the splendid rendition of Concierto De Aranjuez (aka Orange Juice). Gavin excelled as an actor with a very relaxed demeanour resulting in an easy performance to absorb and enjoy. The humour of the final scene of Act I (coffee gag) didn’t quite land for me, but I appreciate that this could be a result of how I personally prefer it to be delivered as opposed to whether it’s incorrect or not.  

The bottom line remains, despite some minor gripes (which 99% of the time I’ll note when seeing both pro and amateur shows) this was a magnificent production. I left the theatre entirely satisfied and with a firm nod that I’d seen a stonking show, feeling completely gratified. Seeing so many shows it’s (sadly) harder to acquire that thrill and adrenalin you get from going to the theatre, this production exposed that pleasure which I can’t deny I was dreading I’d lost from overexertion. Congratulations and Thank you! 

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