Made in Dagenham

Why is this such a terrific show?  Based on the 2010 film, which in turn was based on the Ford sewing machinists’ strike of 1968, it is a potent blend of important social history, a touching love story, and a powerful call to arms.  As Barbara Castle reminds us in the final scene, the Dagenham women may have won the right to equal pay, but the fight for true equality goes on.  The action and dialogue span all strata of society from the factory floor to the corridors of power, while the music perfectly evokes the era, manipulates our emotions, and challenges us to stand up for what we believe in.

Adaptations of films tend to be quite episodic in nature, and cutting rapidly between locations is much easier in a movie than in a musical.  This production kept the pace high by not worrying excessively about where the action was taking place:  the TUC conference in Eastbourne may have merited its own backcloth, but the O’Grady’s kitchen in one short scene was conjured up just with a single saucepan, and the dinner party at the Hopkins’ house was simply suggested by a fondue set on a trolley.  That’s not to say that the main set, the interior of the Ford factory, wasn’t impressively flexible and detailed, but the creative team clearly realise that it’s the quality of the characterisation and story-telling that are key to a successful production.

The ensemble is vital to the success of the show.  The battle lines between the genders are laid out early, with the women joining Rita in the domestic chores accompanying “Busy woman”, and the men taking time off on the factory floor to perform the jaunty and catchy “Made in Dagenham”.  The mood soon changes in both groups: the men’s optimism fades when they are laid off and they have to face the reality of the strike and its consequences, while the women have to find the resolve to face up to the hardship and hostility caused by their actions, and the determination to achieve their aims.  The shifting attitudes and emotions were evident throughout the company, from the way they moved to the way they sang, most notably in “Storm Clouds”.  And the singing was characteristically good, with solid unison, for example from the women in the opening number, and accurate harmonies, for example in “This Is America”.

A notable feature of this production was its use of dance and choreographed movement beyond what you might have expected; it slightly changes the character of the piece by turning it into a more self-aware stage musical, but the approach worked really well.  Rita and Eddie’s reconciliation in “I’m Sorry I Love You” was played out as a mannered dance with elements of the Argentina Tango, and Rita’s affecting “Nearly Had It All” featured the story of her relationship with Eddie represented in an expressive dance routine.

The properties added to the period feel of the piece: the machinists’ room in the factory was kitted out with some convincing replica sewing machines, and Hopkins’ briefcase appeared as authentic as Castle’s patent leather handbag.  The wigs and styling really conjured up the 1960s, as did the costumes, including a couple of quite psychedelic mini-dresses which brought the whole era back in glorious technicolour.

This was a slick, fast-paced production packed with excellent characterisations and accomplished musical numbers, and distinguished by a subtle but novel, dance-led interpretation which illuminated some interesting facets of the show.  Did it move me?  Having immersed myself in this piece a few years ago I thought I was immune to its power, but this was such a potent production that I was caught up in the women’s campaign, Connie’s regrets, the Whitehall politics and, above all, the evolving love story between Rita and Eddie all over again.

© NODA CIO.  All rights reserved.

© NODA CIO. All rights reserved.