Made In Dagenham

MADE IN DAGENHAM

Presented by

Musical Theatre Stafford

The show is based on the Woolley/Karlsen/Number9 motion picture of the same name. Set in Essex 1968, the show opens to a typical early morning scene, we meet working mum Rita O’Grady trying to get her kids off to school and her husband off to work before going to work herself.

Following misogynistic union company appraisals, the women sewing machinists not only find themselves downgraded but also classed as nonskilled in the newly negotiated pay deal structure. Hackles rise and tempers fray, turning on their union rep Monty, Justin Chiles; for answers. The male dominated management and union talks plan on burying the complaints in a lengthy time-consuming grievance procedure.

Hannah Morris as Rita absolutely shines in this role, visibly growing in determination and self-belief. From her “one of the girls” beginning, she’s taken under the wing of union convenor Connie, brought to life by Alison McNicol. From her sewing job to being the women’s leading voice, Rita takes them out on strike, initially over the down grading but as new information comes to light, equal pay becomes her goal for all the ladies in Ford UK.

Mark Phizacklea, as Rita’s hapless husband Eddie; exudes the one of the lads machismos of the time, until at the height of the strike he finally breaks under the peer pressure and strain heaped on him from all quarters. The performance of The Letter, was simply stunning; beautifully directed for maximum impact.

Lively ribald factory humour from the opening number, mainly from the potty mouth, force of nature that is Beryl, played with such relish by Tracey Brough-Chesters, whose sarcastic banter, particularly with absent minded Clare, Jess Smith; is making me smile as I type.

The Wilson Labour Government handling of the issue is deliciously observed teasing, thank you Neville Leedham; you sense the humour bubbling under all the time, as this most serious of topics is discussed. Deciding to fight fire with fire, he calls upon the stalwart Barbara Castle, utterly embodied heart and soul by Jo Sedgley-Chiles; to pull the errant female strikers into line.

The male cast members had an uphill struggle on their hands with such a female lead show. Stetson off to Tim Cooper as the dastardly American executive Mr Tooley, very funny. All the cast both named and support roles were always on song, whether in the scene action directly or in the background, the sign of a professional approach from the production team and the society.

Effective set, the performances, lighting, and music did all the heavy lifting in this show. Costumes were superb, reminiscent of childhood family gatherings. Spot on sound, crisp, clear, the odd marginally late fader, opening night with a large cast with dialogue never an easy task.

Director/Choreographer Rachel Millar, together with Musical Director Liz Talbot seem to bring a nurturing and inspiring confidence to the cast, allowing them scope to bring out the best from their performers, The energy and exuberance in the dance numbers showed throughout. truly excellent performances from this strong cast.

Musical Director Liz Talbot, Must also be congratulated, great attention to detail, her experienced gifted musicians totally delivered, everything from subtle nuanced tones in parts, to blasted out backing complimented the singing voices exactly.

Lively, bawdy, boisterous, or should that be girlsterous, thought provoking, emotionally inspiring gem of a show. Excellent.

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