The Bitter Taste of Coal

The Bitter Taste of Coal, a play with music in four acts by Steve English and Mick Smith, is a real-life drama about Seaham people, for Seaham people, by Seaham people—and it feels exactly that. Powerful, emotional, and thought-provoking, the production held its audience throughout. I left the theatre wanting to learn more, and I spent the rest of the night researching the history behind the story. To me, that is the sign of a very good play.

The piece opens with narration recounting the 1980s miners’ strikes and a brief history of mining in Seaham. The first scene, set on 12 July 1980 in Margaret’s sitting room, quickly establishes the warmth and rhythm of everyday life: the men preparing for Durham Miners Gala (and the ‘proper’ way to pronounce Gala), and the women planning a day of shopping in town. When an old water bottle from the 1880 Knack Pit Disaster is mentioned, the narrative shifts seamlessly into the past, laying the foundations for the story to come.

We are then introduced to the Smith and McGlaughlan families and shown what life was like for Seaham’s colliery workers. Before Act 1 closes, we descend into the mine with four men whose routine shift is shattered when the pit catches fire. The staging of the unfolding Knack Pit Disaster of 1880 is tense, atmospheric, and deeply affecting.

Act 2 brings us into the offices of the 5th Marquess of Londonderry, Government Inspector Mr Bell, and Colliery Manager Mr Stratton. Their efforts focus first on saving the colliery and only then on saving the trapped miners, starkly revealing the disregard shown to working families of the era. Later, we meet the miners’ wives, desperate for news and ultimately devastated by the outcome of the rescue attempt.

Original songs were woven beautifully throughout the piece, providing emotional punctuation and moments for reflection. The opening colliery band music instantly set the tone for the evening. The ladies’ chorus in the first scene deserves particular praise—their conversation flowed naturally, with genuine reactions and attentive listening that made the audience feel part of the room.

Narrators Diane Henderson and Lindsey Southwick handled their roles exceptionally well. Narration is often a difficult task, but both delivered clarity, warmth, and a strong connection to the story.

The natural chemistry of the ensemble continued into the 1880 scenes featuring Ben Wardropper (Michael Smith), Laura Geary (Margaret Smith), Ian Dodd (James McGlaughlan), and Charlotte Gibson (Bella McGlaughlan). Their work was sensitive, well-paced, and emotionally grounded. Laura Geary’s rendition of The Golden Shawl was a standout, providing a beautiful and haunting close to the scene.

The absolute highlight for me was the sequence inside the mine. The staging was clever, with a raised platform creating a cramped mine shaft that forced the actors to adjust their movement, making the space feel authentically confined. Lighting was used effectively to evoke the oppressive, dim world underground. Performances from Ben Wardropper, Ian Dodd, Ben Southwick (Rock Cole), and Paul Blakey (Jack Southeran) were polished, heartfelt, and gripping. Ben’s performance of A Canny Black Eye and the collective moment when the men removed their helmets and bowed their heads in prayer were particularly moving.

A brilliant directorial decision saw the trapped miners remain in view during Act 2 as the officials debated their fate in front of them. The factual density of these scenes was impressive, and the cast handled the details with precision. I even caught myself tutting at the blatant disregard shown by those in power.

Special mention must go to John Casson (Ralph Marley), who stepped into the role with only four weeks’ rehearsal and delivered a natural, assured performance.

Another emotionally charged moment came when the miners’ wives gathered at the gates—raw, honest, and beautifully staged. Director Keith Armitage’s use of layering and simultaneous scenes added depth and texture throughout.

Vane Tempest should be incredibly proud of this production. It was educational, respectful, and profoundly moving. I left wanting to know more—a testament to the cast, crew, and creative team. Very well done.

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