Made in Dagenham

‘Made in Dagenham’ is a musical based on the 2010 film surrounding the real-life events of 1968, where female Ford machinists at the Dagenham site went on strike for equal pay.  It also raises the issue of how women were treated in the 1960s and the prejudice they had to deal with from their own husbands, work colleagues and politicians.  This production was directed by Alice Holmes in her debut with the Society, with choreography provided by Cassie Walsh marking her first time choreographing a full-scale musical. 

Before entering the auditorium, the foyer was decorated with silver and blue tinsel to reflect the Ford corporate colours and female ensemble members were walking up and down, wearing Ford overalls and carrying home-made style placards, which all added to the overall ambience.  

The opening scene featured a homely kitchen were Rita O’Grady (Emma Wighton) is busy making breakfast for her children, Graham and Sharon (Charie and Freya) while simultaneously locating her husband’s ‘lost’ clothing items.  This was a two-level set with her husband Eddie ‘sleeping’ above and stairs to the side.  There were lots of tiny attentions to detail, for example, a teapot with a woolly cosy and a milk bottle on the table, all hinting that this is a working-class family.   Rita obviously loves her family deeply while enjoying the surrounding chaos, and it is evident that she is the centre of the homelife.   Her husband Eddie (Sean Johnson) comes downstairs and gets dressed into his Ford blue overalls.  He is a typical stereotype working-class man, totally reliant on his wife regarding household issues, but their relationship is a loving one. 

This is the whole crux of the musical, as we are presented with an entire ensemble of women, including Rita, wearing pinnies and waving dusters the army of ‘Busy’ women, let us know they run the household as well as holding down full-time jobs.  The ladies then change into their working Ford overalls, while the set is seamlessly changed behind them, into the Ford factory, with the hard-working machinists making upholstery for the Cortinas manufactured at the Dagenham plant.  

First, we meet the men ‘blue collar’ workers: Eddie O’Grady, Sid (Sam Taylor) Bill (Oliver Ward), Stan (Jamie Savage) and spectacled apprentice Barry (Rob Pringle) who use tyres and a steering wheel to give us an idea of their jobs the irony being they are so poorly paid, they cannot afford a car themselves. The sewing machines are trundled in, and we meet the women and some of Rita’s co-workers, including the sassy Sandra (Lottie Noble) wearing bright red high heels and with flaming red hair, foul-mouthed Beryl who likes a witty pun (Daisy Mitchell), the shy bride to be Clare (Megan Huntley) and Cass (Jane Shelley.)

All seems harmonious working in the factory, as men and women combine to joyously sing ‘Made in Dagenham’ but, there are storm clouds on the horizon.  Management decisions have made behind the scenes to re-grade the women to an unskilled status level, meaning they would receive less pay than their male co-workers.  

We meet both side of the Unions, the powerful force behind industry representing pay and conditions and the working man.  The long-suffering, chain-smoking Connie (Liz Williams) wearing a sharp pin stripe skirt suit, to differentiate her from the workers, and her male counterpart Monty (Mike Pinkerton.)  At first it seems the Unions are on the women’s side, but it quickly becomes apparent that plots are afoot as Monty is in cahoots with Managing Director, Mr Hopkins (Ian Stewart) and Production Manager Ron Macer (Tim Bates) who want the women to sign a contract to accept the new conditions.   

The women quickly realise they have been betrayed by their Union representative and refuse to sign the agreement, setting in motion events that would have repercussions for their lives and the lives of all women.  But the ladies need a spokeswoman to argue their case with management.  In a hilarious song Clare demonstrates that she is not the woman for the job with her endearing song ‘Wossname’ showing she is inarticulate but switched on as she has sussed out Monty.   So, a reluctant Rita is coerced into being the leader of the women’s stand against injustice, detailing in no uncertain terms exactly what they want – change and warning the men don’t mess with us. 

A switch then to Westminster, using a huge Big Ben clock back-drop, to meet the current Labour Prime Minster Harold Wilson (Drew Jackson) the pipe puffing would be working class man of the people and his group of red tied lackies.  The economy is in a mess and tensions are building so a new post is created: Secretary of State for Employment and Productivity.  Who else to bargain with women but another woman so Barbara Castle (Jayne Cox) is appointed.  I loved her Chanel two-piece suits, black patent handbag and her red hair to match her fiery temperament.   

A hilarious scene follows in the local social club celebrating pay day featuring the ladies in 60s mini dresses and clothes and some 60s themed choreography.  Beryl heckles a blue comedian (Sam Mitchell channelling his inner Bernard Manning) making derogatory sexist comments and reflecting the humour of the day.  We also learn Eddie has forgotten their wedding anniversary giving more insight into his character as he tries to shmooze is way back into Rita’s good books.  Sean showed some fantastic vocals as he tried to work his magic on Rita. He succeeds but Rita has had a fire ignited in her belly. 

In contrast to the working-class kitchen at the start of the show, we see Mr Hopkins and his middle-class, well-spoken wife, Lisa (Donnamarie Stamp.)  There were once again lots of lovely touches to show their monied status and class, with Lisa wearing red fluffy slippers and a table set with silver tea service and tablecloth.   Lisa herself is tired of her life of just a housewife, as she has a first-class degree and wants more, so she agrees to help Rita in her cause.  

I loved the scene were a nervous Rita and Connie meet management and the Union representative, Monty, who tries to arrogantly bamboozle Rita with jargon. She is even labelled a troublemaker with communist ideals.  Rita, growing in confidence, stands up for her co-workers standing her ground and, on her return, tells the girls they are going on strike.   They enlist their co-workers in Liverpool to join the cause, and the Act ends with a joyous call for revolution, with Rita spurring the women on as they rip off their jackets and march around the stage bearing slogan filled placards.  The girl power anthem ‘Everybody Out’ sums up all the built -up frustrations of sexual inequality and prejudice the women have experienced and Rita (Emma) was incredible, elevated above the crowd, her pure vocals soaring above the ensemble. 

Obviously, Ford is an American company, and their U.S Executive arrives, Mr Tooley (Sam Mitchell) a total stereotype of everything American from his cowboy boots to his Stetson hat.  He arrogantly announces his plan to bring the women into line – lay off all the men.  He calls Rita a ‘dolly bird’ and shows his sexist attitudes he evens tears up Rita’s speech in a ploy to demoralise her.  Ironically Sam also played the comedian Chubby Chuff with his overweight belly and bushy moustache. 

I liked the contrast strike picket line, bathed in blue light, as the women continue to battle on for their beliefs even though tensions are building at home.  In a heart-breaking scene, Rita finds a letter from Eddie saying that, due to her neglect of the family, is taking the children away.  Both Emma and Sean as Rita and Eddie excelled in this split scene, with Eddie looking down dictating his words as Rita sat at the table heart-broken at the cost of her sacrifice.   

Wearing a beautiful red and white Biba dress loaned to her by Lisa, Rita takes on the might of the TUC at their Conference in Eastbourne, using her own words to convince them of her fight for equality reminding the men the important contribution women have made in time of war and singing the powerful anthem 'Stand Up.'

Lots of good performances throughout, with the men taking on various roles, such as factory workers, Union Shop Stewards, aides to the PM, Chubby Chuff the Comedian, the Cortina Man singer and the schoolteacher.  The women were very strong, and I was impressed with the friendships obviously forged through working closely together at the Ford plant and they created well-rounded characters.  Daisy as Beryl was hilarious with her four-letter expletives and her taking on Chubby Chuff the comedian.  I loved sassy Sandra and her facial expressions and her dancing as one of the Cortina girls was excellent.  Liz Williams played Connie with the air of a woman who has had to fight to get respect in a man’s world while having to sacrifice everything in the process, demonstrated in her powerful song ‘Same Old Story.’  Jayne Cox as Barbara Castle was very good, keeping the accent and attitude and taking on the men at their own game and her song ‘Ideal World’ was well delivered.  Donnamarie created a lovely cameo as Lisa with her growing respect for Rita and the factory workers recognising this was a fight for all women of all backgrounds. 

Sean Johnson as Eddie was excellent showing a dual character wanting to be cool with his mates listening to their advice to ‘sort her out’.  His vocals were haunting and full of remorse as he crumbled under the pressure of his wife’s decision to put someone else’s needs first.  His penitence as he finally comes to his senses and realises, he was wrong was perfectly done. 

Emma Wighton as Rita was amazing, growing in confidence from humble housewife to a fiery leader facing up to her insecurities as she spoke passionately for women rights.  Emma always gives 100% to any role she takes on, down to her accent and body language and the emotional impact of her vocals she made Rita into a woman to be reckoned with.  The sight of this petite but feisty woman, dressed in red and white mirroring the corporate colours of the TUC standing up to the mighty male dominated organisation, is a lasting image I’ll never forget.

Costumes overseen by Yvonne Smith were stunning with so much 60s fashion it was like a vintage second hand shop!  Perfect choices for all cast members with accessories and wigs to accentuate their character.  Props were spot on and used effectively to create the 60s vibe and factory setting. 

Choreography from Cassie Walsh was very good using the full stage to create exciting whole ensemble dance numbers which told the story well many using traditional 60s dance moves. 

Lighting by Vinnie Hemmings was atmospheric and added to the overall ambience with some powerful spotlights used in split scenes so all characters were well lit.  I liked the special effects of the sewing machines in the background and ‘Big Ben Chimes’ and the microphones had very few issues.  Scene changes were good but would have benefited from some musical interludes as there were parts where the stage was in darkness and movements of scenery was apparent. An extended musical interlude would have helped to make these scene changes slicker and disguised the obvious on-stage noises as scenery was changed.    

The music led by Musical Director Martin Yates was good featuring‘The Cortina Band’, and it is always a treat to have a live orchestra interpretating the score which had lots of 60s influences.

As always, David and I were delighted to be greeted in the Foyer by President Betty Teanby.  Well done Alice Holmes for this ambitious production of a very powerful musical, you have used your talented cast well to relay this important story of the early stepping stones towards equality.  It was also lovely to be invited backstage to meet the cast afterwards. 

 

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