The Firework Factory

The Firework Factory’ is a new work from the pen of Portishead Players member Colin Astley, and having seen all his previous works I am reluctant to say this is the best so far, because it demeans his previous excellent plays.  But this play was a time capsule of emotion; the 1950’s brought to life in a factory in the Yorkshire town of Huddersfield. The play opens in 1955, just as the coronation of Queen Elizabeth 2nd   is taking place.  ‘Edward Sykes is the MD of the Imperial Fireworks factory, a widower; he is nearing retirement but is reluctant to hand over the reins to his son Alec. Edward’s unmarried sister Kitty has recent returned from London to work in the factory having been ‘important’ in the war office during the 2nd world war.’

* It has become routine for an audience to applaud as the curtains open at the start of a play. I imagine it is to applaud the scenery when it is very good, but it often happens as the curtains are opening and the scenery cannot yet  be fully appreciated, this happened last Saturday Night at the final performance of ‘The Firework Factory’ and mentioning it makes me seem an old grouch But the scenery has to be ‘outstandingly’ good to make this action appropriate. 

The scenery for this play was good and appropriate, the set comprised a very large expanse of pale green walls... two offices divided by a ‘would be’ wall.  The secretary’s office was small, with a door to the corridor and a communicating door into the director’s office and the furnishings were minimal a desk and chair, the MD’s office was much bigger with a door to the corridor, it was slightly better furnished, a large desk and a chair and a small table with chairs set centre stage.  There were a few pictures on the wall, the main one being a picture of the Previous MD of the factory (the MD’s Father). This was a basic, but very realistic setting of a factory in the early post war period. It comprised good usable furnishings, plenty of space and seating...Plenty of room for the play’s action.

In the offices the lighting was good, bright daylight and clear. The implication from the cast was of large windows across the stage front (mention of cars pulling up and buildings opposite the offices) Sound was excellent and we could hear every word (also credit to excellent diction from the cast). Sound effects were spot on with telephones ringing and answered on time, and explosions loud enough to have the effect of making the audience jump (although pre-warned in the programme)  When the scene moved to the hospital, white flats uses as an inset between the curtains, certainly gave a clinical feel. Add a white bed with white linen, white bedside lockers and chairs, it really was quite startling, but I loved it. It looked very real. The patient in the bed, Alec, with his bandaged eyes looked stark within this ‘white scene’ and nurse, doctor and visitors were all displayed with colour intensity against the white... very effective. As a nurse who began her work in the early 60’s I was pleased to see the ‘IV drip’ was a bottle not a plastic bag.

The story was slow moving, but never dull. Each piece of dialogue led the audience towards conclusions, yes, eventually it was fairly obvious where it was all going, but for sheer gentle pleasure and enjoyment this was hard to beat.

It was a ‘wordy’ play (what play isn’t!) but there was so much dialogue to learn and no prompts required! The pace of the action and the skill of well cast characters when combined with clear diction (especially when spoken in an accent that didn’t come naturally to them) were paramount to the success of this play. There was nothing that I as a critic or as a director, would have changed.  The pace was right, the casting ... a dream team,   and the diction crystal clear. Excellent costumes and changes were maintained through the passage of time, and even Edward... worryingly wearing the same suit throughout until the last scene, was eventually explained.

This play was based on memories that Colin Astley holds of his father and family, many of whom were involved with fireworks manufacture in Yorkshire in the 50’s, also memoirs from friends.

The play was directed by Janet Astley (Colin’s wife) As a very experienced director and performer, and with knowledge of her husband’s family, she commanded a talented team, who started working together with   a bare script and ended with fully rounded performances of a great story.

Edward Sykes... played by the author Colin Astley, Edward Sykes character was based upon Colin’s own father.  Colin performed the role very well indeed, displaying a quiet, charming, likable character, a man who kept his emotions in check and could have been described as a dreamer from another era. This was a large role with a great deal of dialogue and he was seldom off stage as he was central to the whole story. It was a tour de force which Colin handled with a gentle composure, rather like (to this observer) Colin in real life! 

Kitty Sykes   Kitty was a lovely supporting role and  very convincing. She had a very gracious speaking voice and her lines were crystal clear, with a hint of Yorkshire accent, many of her lines were important in the progression of the story and she was totally believable.

Alec Sykes  This was a complex role to play, as a manager on the factory floorthe performer managed the Yorkshire accent very well. Having to spend a large part of Act 2 in a hospital be with much of his face and his eyes covered, was difficult. But somehow his sheer niceness and optimism was still apparent; his acting throughout, but particularly during these difficult scenes was excellent.

Betty Sykes This was another supporting role which the performer made ‘her own’.  She performed with affection for her husband and his father which turned to real distress following Alec’s accident and the fall out with his father. Very well played.

Mary Shaw (secretary to Edward Sykes)  Without any detriment to the other performers, I thought this role an absolute triumph; Mary paced her acting, her diction (with a new Yorkshire accent) and dialogue precisely.  She became ‘Mary’ for the two hours of the play. She displayed new emotions and terrific understanding  during all the different scenes of the play and although the audience could sense how the story was going to end (matchmaking hints from Kitty) her transformation in the final scene was  masterly.

Arthur Wood (worker on the shop floor) Once again Tony used his experience to perform with an excellent accent, a new role. He performed very well with ease and experience.

Nurse Joy...   this cameo rolewas perfromed very well; she had a genuine compassion both for the Alec...the patient and his visitors and a lovely modulated speaking voice with a subtle accent, well done.

Alan Gibb.... So often cameo roles are given, or taken, by less experienced members of a cast but this was the perfect upstanding Doctor, well spoken, precise with controlled kindness, very well played.

Portishead Players is a talented and accomplished club, but ‘The Firework Factory’ was rather special, Colin has a real talent as a playwright, and thankfully the Players very happily support his talent by performing his plays. It was a great shame it wasn’t better supported by big audiences..... They missed a treat!   Congratulations to all concerned.

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