Made in Dagenham

For many, a night of musical theatre is one that generates a feeling of losing oneself in a world that would normally be outside a lived experience. I am always fascinated by the subject matter of Richard Bean’s Made in Dagenham as it is within my living memory.  David Shaw’s spellbinding production for Stourbridge Amateur Operatic Society certainly lived up to, if not exceeded, all expectations.

You would hardly think of Ford’s Dagenham River Plant as the first choice location for a stage musical but with an imaginative setting, thrillingly paced and executed choreography by Amy Roberts and engaging and expertly delivered music under the direction of George Stuart, coupled with excellently drawn characterisations deftly played, you are very soon drawn into the belief that it is the most logical thing in the world and become totally immersed in the ground-breaking story that unfolds.

There is a current trend with newer musicals for them to be centred around a single character and “Made in Dagenham” is no exception, in this case, it is Anna Stuart’s brilliant an utterly convincing portrayal of ‘Rita O’Grady’, coping with the accepted social conventions of the times – women worked at mundane, unskilled jobs but also ran the house, men were the head of the household and were the breadwinners. This manifested itself in the O’Grady household with Rita shouldering all of the problems, while her husband ‘Eddie’, played with great incite and conviction by Leon Davies, couldn’t even remember their wedding anniversary.  Add to the mix the children, at this performance being, Dylan Henry as ‘Graham’ whose misdemeanours at school are about to be rewarded with the cane and Lilybell Greaves as ‘Sharon’ who wants to be a doctor despite the rule of thumb being that girls grow up to be nurses! What on the surface seems to be a particularly normal household for the time. Both Dylan and Lilybell complemented each other superbly but also shone in their roles showing great confidence and discipline as no doubt did  their doubling partners Thomas Shilton as “Graham’ and Charlotte Carter as ‘Sharon’.

The same scenario is reflected at the car plant – men build cars, women upholster the seats, but it transpires that it has been decided to re-grade the seamstresses to unskilled roles. The factory’s union representatives, safely in the hands of Liann Ruddick as ‘Connie’ (the Shop Steward) and Richard Cope’s ‘Monty’ (the Union Convenor) encourage the extremely talented and suitably aggrieved and forthright machinists to raise a grievance. Reluctantly, Rita is cajoled into representing the machinists at the review meeting, despite a spirited challenge by ‘Clare’ played by Emily Jeavons.

The Plant Managing Director, ‘Jeremy Hopkins’, played with suitable superiority and just enough distaste for his aggravating workforce by Mark Horne, puts pressure on two of the other male shop stewards, appropriately subservient Sid, played by Nick Westley-Smith and Bill, played by Reuben Southall, to put some pressure on Monty to get the dispute resolved.

Meanwhile we meet some of the more familiar personalities of the time – the immediately recognisable Prime Minister, ‘Harold Wilson’, played with great relish and much to the enjoyment of the audience, by Adam Chester who decide to bring ‘Barbara Castle’ on board as Secretary of State for Taking on the Unions, this bluntly spoken, no-nonsense West Yorkshire-women played with perfection by Rachel Davies.

Typical of the times, we revert to centre of the social hub, the Working Men’s Club with a very realistic rendering of the archetypal sexist comedian, ‘Chubby Chuff’, by Steve Taylor and suitably brought down to size by Anna Hough’s ‘Beryl’. It is an unlikely setting for Eddie to make up with Rita about forgetting their anniversary, but in this moment, we start to see the start of a change in roles at home.

Meanwhile, the homelife of ‘Jeremy Hopkins’ is brought into focus, his wife ‘Lisa’, Natalie Nicholas’ performance is in complete contrast to her working class opposite number but just as powerfully and convincingly delivered, does not accept the housewife role and, in common with ‘Rita’, their son has also been caned!

At the Review Meeting, ‘Rita’ argues the case of the machinists and rejects the grievance procedure and rallies her members to strike.

The Ford Management, in the form of a sort of Greek Chorus monitoring events, are represented by ‘Hopkins’ and the not unexpectantly but subtly sycophantic Production Manager, ‘Ron Macer’ (Jonathan Hunt) and Personnel Director, Gregory Hubble (a last-minute cameo by director, David Shaw).  They decide that the situation calls for intervention by Ford’s American executive, who arrives in the form of Ricky Hammond’s brilliantly over the top and effusive ‘Mr Tooley’ – demonstrating the complete opposite US Management style. His solution – lay off all the men! This has a major impact on the O’Grady household, with ‘Rita’ on strike and ‘Eddie’ now laid off.

‘Connie’ is hospitalised with breast cancer and convinces Rita to make her speech to the TUC conference on her behalf, but doing so will mean she will miss Graham’s school concert. Eddie loses his patience and decides to leave Rita and taking the children with him. Connie sadly dies and Rita knows that she must further the cause. Rita ultimately delivers her own passionate speech resulting in the vote for equal pay being carried.  Eddie is awestruck by his wife’s performance and firmly sets the seal on a brand-new outlook and a brand-new relationship.

This show is a pure roller-coaster ride for the emotions – from sheer joy to abject despair but in the reliable and safe hands of this talented society’s Performers and Creatives it is a joy. Superb individual and ensemble work supported by an imaginative and talented technical team.

My thanks to everyone at Stourbridge Amateur Operatic Society for their warm welcome and their hospitality, it was very gratefully appreciated. I look forward to seeing you all again soon.

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