Made in Dagenham

Despite performing the specialized task of sewing upholstery for car seats, women were classified as unskilled labour and paid much less than men. Encouraged by a sympathetic union representative, the women’s grievances are notified to Ford. The meeting goes badly and, outraged by the company's lack of respect for them, Rita leads her colleagues to strike. This was a good choice for the company.

Katherine Foxworthy in her portrayal of ‘Rita O’Grady’ gave an outstanding performance reflecting how life had changed from domesticity at home to the reluctant though feisty spokesperson fighting for equal pay. There was a marked difference between both sides of her character which should be commended.

Clive Dancey as her husband “Eddie O’Grady’ was equally strong and the chemistry between them in tenderness and battle was a powerful one. Vocals were good and I particularly enjoyed his take on “The Letter”.

The first of a number of scene changes flowed well and introduced us to a Factory environment and a men’s chorus singing ‘Made in Dagenham’. This was quickly followed by a change to the sewing room and a very strong line-up for the girls who were at the heart of this historic event. 

An appealing musical score & orchestra, ably controlled by Peter Farrell, contained some major harmony pieces.

“This is What We Want”” featuring bold brassy women none more so than ‘Beryl’(Gillian Shaw), with great effect demonstrating throughout her performance a special vocabulary – or lack of it – Yes, in the script but language that became a bit gratuitous.  

‘Sandra’ (Stevie Gibbs), ‘Cass’ (Alison Downes) and with precise timing and in comedy mood ‘Clare’ (Tammy Wall), performed with the women “Wossename” which was excellent.

In depth and emotion ‘Connie’ (Louise Bateman) gave a convincing and emotional performance as the union representative character, losing her battle with cancer.

‘Lisa Hopkins’ (Sarah Gennoe) was every bit the upper-class wife of Ford’s UK boss in befriending the girls with sympathy for their plight but in dress and manner despite life poles apart.

In style and characterization, the men on the factory floor too many to mention individually were strong and powerful are to be commended for their contribution to the production.

‘Harold Wilson’ (Peter Sayers) in character, complete with pipe was brilliant as were his aides in the bowler hats song and dance routine – “Always a Problem”. However, at times the accent was not secure and one had to listen extra hard to pick up the nuances of the Yorkshire brogue.

As ‘Mr. Hopkins’ the Managing Director of Ford UK (Tim Spink) played the character with conviction. Under pressure yet covering it well.  

Based on the white paper in “Place of Strife” the equal pay act was promoted and driven through by ‘ Barbara Castle’ very capably played here by Alison Gibbs as a no nonsense down to earth Secretary of State for employment. The scene in the House of Commons when she failed to secure agreement for a 92% towards equal pay worked well.

Ford of course is an American company and ‘Mr. Tooley’ (Barney Shergold) along with the ensemble in “This is America” presented a fast-moving opening to the second act. Again, unfortunately the accent was not secure and I sensed that the actor felt somewhat uncomfortable delivering some of his line. An accent and voice coach might have helped here.

There was great humour, powerful singing with pace and energy in the well-choreographed routines and raw emotion demonstrated by Darren Barsby as ‘Monty’ in his wonderful tribute to Connie. In “The Letter” too ‘Eddie’ produced a superb vocal performance.

Oliver and Imogen did well as the O’Grady children and it was evident that here we had two young star of the future. Congratulations to you both.

This was a big set, big story production with all involved making their contribution towards a successful show. There were props and scenery that made everything real and believable. I loved the launch of the Cortina1600E.

Well done all and thank you for your hospitality.

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