Made in Dagenham

‘Made in Dagenham’ opened at The Adelphi in 2014 and despite some positive reviews, ticket sales were poor and it closed only six months later. I really can’t imagine why it wasn’t more popular. The music is great and of course it’s a true story of a time when women, especially those who worked in factories, had very little influence in anything except bringing up their children.

The set was very good– congratulations to the team of people involved in the design, construction and painting. The sewing machines were most realistic.There were numerous scene changes, some of which entailed a lot of work for the crew - and sometimes just for a few sentences of dialogue. One or two of the scenes could have been set more simply and in front of the tabs to keep up the momentum of the production. Never the less it didn’t detract from the overall presentation of the musical as they were accomplished quietly and efficiently.

The opening number was excellent and the diction, in all of the songs throughout, was perfect. The men’s chorus were good but the ladies were exceptional – so many of them and they all sang as one.

Lucy Morris was first rate as Rita O’ Grady. The ordinary wife, mother and factory floor worker who emerges into a strong woman prepared to lead a strike in order to get equal pay for women.

As her husband Eddie, Patrick Coad gave a solid, commendable performance and together they made a credible couple. Eddie was more malleable and loving than some of his friends, which he was teased about, and the letter he wrote expressed his feelings beautifully. That was a touching scene. ’I’m Sorry I Love You’ was so true to life and relationships.

Mark Mowbray was impressive as Tooley –the epitome of the brash American executive – and he looked immaculate. ‘This is America’ was a powerful number.

Emma Culley portrayed the strong, outspoken MP Barbara Castle wonderfully and her Lancashire accent was good. .’An Ideal World’ was a thought provoking number.

In the role of the pipe-smoking, pacing Harold Wilson, Bertie Chatfield gave a good performance and his mannerisms were nicely pointed.

Connie, the feisty woman who was prepared to take on the establishment on behalf of her fellow workers, was splendidly depicted by Melanie Bartlett. ‘The Same Old Story’ was another notable number and a reminder of what it was like at that time to be a woman without education or expectations.

The shop steward Monty, who represented the women but was too scared to confront the management on their behalf, was also too scared to show his long standing feelings for Connie, until it was too late. Mike Bartlett played the part well.

Beryl’s language was ripe (to say the least!) but that was her character and Geni-Lyn made her extremely likeable and funny as well as ‘earthy’ – a great performance.

Kelly Brewer played the ditzy Clare splendidly and has a notable singing voice.

Lexi Dowle was praiseworthy as Lisa Hopkins and the developing friendship between her and Rita, as they bonded over their sons' being punished at school, was strongly depicted.

Spencer and Lauren Jordan did especially well and are clearly following in Jenny’s footsteps.

There were many other cast and supporting roles representing a cross section of the employees both factory and parliamentary, and they all added to the presentation and success of the production. Nick Reigate made a notable ‘Cortina Man and clearly enjoyed every minute of it.

The lighting and sound departments worked efficiently and added to the staging.

Costumes were suitable for the period and the glamour of the Charleston dresses in the Cortina scene was dazzling.

The following points will be omitted in my report on the NODA website but I felt it would be helpful to point them out.

Perhaps a wider seating angle would have benefitted the audience on the right in the office scene.

Your programme is extremely well presented, is interesting to read and easy to negotiate. I do hope that you will be entering into the next NODA Programme/Poster Competition.

Musical Director James Marr controlled the musicians superbly – never once did they overpower the vocalists. Every musical number is full of information and we could hear every word.

Direction was very good and Amanda and Will worked with the large cast to get the very best out of them. The strike scene was full of power and energy, the factory floor/sewing machines worked well and the finale was utterly joyful!

Choreography by Hannah Dare was nicely varied and well –rehearsed.

It really was a super evening’s entertainment which my guest and I thoroughly enjoyed.

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