Made in Dagenham

Many thanks for your warm welcome to watch your production of Made in Dagenham the Musical with music by David Arnold, lyrics by Richard Thomas and a book by Richard Bean.

Although I had previously heard of the musical and the film it was based on, I had not viewed either of them so I was looking forward to discovering the story and why it had become successful. The semi-fictionalised account was based on the Ford sewing machinists strike in Dagenham in 1968 and centred on the life of Rita O’Grady a working-class woman who leads her compatriots in the fight for gender equality. The production was staged in the Muse theatre in Lipson Cooperative Academy a purpose based well equipped venue and we waited with your enthusiastic audience for the performance to begin. 

The rectangular floor space was added to by a scaffolded gantry running along three sides which added performing area which was well used by the company. The scaffolding was decorated with various period signs which added reality to the time period. The floor space was cleverly utilised as various rooms from the kitchen of the O’Grady family through to the sewing machine floor at the factory. The gantry had tables and chairs set at either side of the back wall which were used as Jeremy Hopkins home and Government Offices. The set props used in the main playing area were numerous from sewing machines to desks, from school board to TUC sign and wooden folding chairs that were set in various positions throughout the production. All the above were smoothly moved around by the actors and the backstage crew. The smaller and personal props were well sourced. The Cornflakes packet used for breakfast appeared period as did the newspapers although I personally would have thought a ketchup bottle would have been more authentic on the Rita’s table rather than a bowl of fruit especially during the strike.

It was wonderful to see a nine-piece orchestra placed under the gantry at the back of the stage expertly directed by your MD. They added so much quality to the atmosphere of the performance with their ability to respond to the actors in the musical. It was also clear that much time had been taken by to ensure the vocals were on point throughout. Well done.

Your technicians worked from the back of the theatre. A selection of lights was set on four lighting bars and the lighting plot added mood and meaning to the scenes. The radio mics used were set at an appropriate level for the show ensuring the story was easy to understand although the text the O’Grady’s children delivered during the latter part of ‘Busy Women’ was a little difficult to distinguish. The effects used added detail and the period projections on the rear of the stage demonstrated the struggles and expectations of the time.

The women’s costumes took me back to my youth and it was great to see such a variety of patterns, colours and of course mini’s worn by the workers, remember sitting in mini’s is an art, and the more designer outfits on the higherranking women. The iconic hairstyles were well represented and time had been taken with footwear and accessories. The men’s costumes clearly distinguished between the staff with their corporate Ford overalls and suits and ties for the management and PM. I appreciated the variety of top’s worn out of work especially Eddie’s. If I’m being picky the school uniforms were a little modern especially as they were in an upper-class school but the mufti costumes were great. The ‘American’ and ‘Cortina’ sets of outfits certainly added detail to their numbers. 

Your experienced director who as she states in the programme was ‘made in Dagenham’ herself obviously had a clear image of how she expected this powerful piece of theatre portrayed and she created a fast-moving emotive production with a very strong cast. I would also like to congratulate her on the musical numbers she choreographed which included moves that the cast delivered with feeling.

I understand your named choreographer s et the ‘Payday’, ‘This is America’ and ‘Cortina’ routines for the company. These were all very different musical numbers which were cleverly set in some cases with iconic 60’s moves. All the cast were well drilled and produced excellent results.

The actor playing Rita was outstanding, she demonstrated a range of emotions from vulnerability to the grit and inner strength she had developed through the guidance of Connie and Lisa. She rose from a working mum ‘juggling all balls’ to someone with a focus and her impassioned speech at the TUC conference was delivered eloquently. Her vocal performance was on point throughout, ‘Nearly had it all’ was heart rending and ‘Stand Up’ so powerful. A true tour de force performance.

Eddie was depicted initially as most of the male factory workers of the time a stereotypical ‘macho’ Ford worker who had set expectation, from his upbringing, of Rita and bulked against her aspirations. Your player was able to show his own development and support for Rita until he felt neglected, leaves and takes the children with him. Their reconciliation at the end was well delivered. He showed his vocal ability in the comic delivery of ‘I’m Sorry, I Love You’ and highly emotional ‘The Letter’ which was staged brilliantly between the two characters. 

The O’Grady children Sharon and Graham were well portrayed by your young members. They acted like real siblings bickering and caring in equal measures. The short number “School Song” gave the juniors a chance to show off their lovely voices too.

Rita had a unique connection with five of her other female workers all very different in their own ways.  Connie Riley the union rep was played with so much feeling by your actor. Her life has been devoted to the labour party who as she states was ‘a lousy husband’ to the detriment of her health. She only wants to make the world a better place and Rita’s commitment to the cause ensures she passes on all her skills and her speech. ‘Connie’s Song’ was beautifully sung.

Sandra was young, attractive, keen to look her best and find a man to give her lovely things. The other women felt betrayed when she was persuaded to take dancing work at the launch of the Cortina. Convincingly played and well sung.

What a joy it must have been to play the role of the foul mouth machinist Beryl. She said and did what she wanted on the factory floor especially vulnerable were the apprentices. Your actor was great she brought life to the character, sang with gusto and performed a wonderful cartwheel. 

Clare had a beautifully coiffured blonde beehive and all she aspired to was to save up and marry her Ken. She was very naïve and not the sharpest knife in the drawer. She takes a full part in the jokes on the shop floor , not always understanding why they are funny. She created a believable character and “Wossname” was brilliant.

The final of the five was the Irish Cass a woman who was ambitious and determined to achieve her dream of becoming an airline pilot. Your actor depicted the part with a beaming smile and clear singing voice

Rita whilst visiting her son’s school to complain about his treatment met an ally with the same complaint little did, she know who she was and how useful she would be with her campaign. Lisa Hopkins a Cambridge graduate who shared a vision of feminine equality, was clearly portrayed as a well-spoken intelligent woman who gave the women her full support and ran rings around her husband. Her husband Jeremy was the Ford Dagenham Manging Director someone who wanted an easy life and a submissive wife and with the strike achieved neither. Your actor looked and spoke the part and was able to show his total lack of authority and understanding. The look on his face when he saw his wife at the TUC conference was brilliant.

Monty the union steward tried his best to support the girls but finds himself in the middle of the male dominated environment. He is in love with Connie and his reaction to her passing was heart breaking. Your actor was able to show all sides of Monty’s character and it was great at the end to see him stand up for his girls.

Harold Wilson was the Prime Minister in 1968 when the story was set and although he was suited and booted appropriately, he was a comic depiction (hopefully) of the man in charge of the government. His demeanour portrayed him as male chauvinist who was attempting to sort the many problems in the country without much success. You actor created a buffoon like character sucking on his pipe. The stationery cupboard, falling asleep during Rita’s speech and ‘I do Like to be Beside the Seaside’ were great and ‘Always a Problem’ brilliantly delivered. 

The Prime Minister’s Aide reminded me so much of Sir Humphrey Appleby from Yes Prime Minister the same intonation and mannerisms he was excellent. Your player also made Mr Buckton and the reporter his own.  

The player cast as Barbara Castle was wonderful in her depiction. She had been instructed by the PM to sort out the woman but little did he know she was from the same background as them and had worked hard to get to her position.She spoke to the strikers in a way they understood. She didn’t mince her words, believed in women’s rights and was committed to the working classes. Her rendition of ‘In an Ideal World’ was a highlight.

What to say about the larger-than-life sleazy inappropriate American Ford boss Tooley. He was arrogant, sinister, insulting to all and what he said was right and no one else has an opinion worth listening to. Seeing the satisfaction on his face when he ripped up Rita’s speech was tangible. He sang ‘This is America’ powerfully, well played.

The Cortina Man with his over-the-top wig slickly fronted the presentation of the new model with his dances. Bill and Sid both union stewards made sure their views about the strike were clearly passed onto the women. Ron liked the benefits of management and Gregory thought himself a comedian and that his mucky comments were appropriate. Barry spent his time trying to get through the machinist’s room in one piece and the other reporter well represented. All these played an important part in the story as did the club singer. 

The men in the workforce brought their own energy and machoness to the stage and the female ensemble added their voices superbly to the principals. It was great to see interaction between the females and males on stage. You should all both on and off stage be very proud of the production with the meaningful powerful musical numbers. The characters had been brought to life and the evident emotion during the finale said it all as did the images of the Suffragettes.

Disclaimer 
Any observation made by the reviewer can only be based on what he sees at the performance in question.  The reviewer may have received information in advance of the performance and it is inevitable that his assessment will be affected by that knowledge. The NODA Representative’s intention is to give an objective critique of the overall production and in particular, the performance.  It should be remembered that any review of this nature can only be objective 
as far as the techniques used during the performance observed.  Any criticisms expressed may not have been valid at other performances and are only made to encourage higher standards in Amateur Theatre.It is hoped that the audience’s appreciation of your efforts will have given everyone a lift and encouraged 
you to greater achievements in the future and that the observations made by the reviewer will prove helpful in improving future productions.

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