Tag Archives: Hayley Grindle

Made in Dagenham

(reviewed at the Queen’s Theatre, Hornchurch on 30 August)

This new joint production for the Queen’s Theatre, Hornchurch and the New Wolsey Theatre, Ipswich is based on the 2014 musical which in turn was based on the 2010 film. Making stage shows out of cinema favourites is rapidly becoming an industry in its own right, somewhat reversing the older trend to film successful Broadway and West End productions.

It’s an apposite theme for Hornchurch, not too far down the road from Dagenham where the women sewing machinists went on strike in 1968 for equal pay with their male colleagues (their jobs had just been downgraded) and better working conditions. The first night audience picked up the local references with glee; it will be interesting to dicover whether or not the same reactions will apply in Ipswich.

Central to Richard Bean’s book is Rita, a multi-tasking wife, mother and factory worker. Daniella Bowen hits her off perfectly; you warm to the characer as she transforms from being just one of the girls working at a boring job to help the family finances to a woman with a mind (and a voice) of her own. Richard Thomas’ lyrics are witty; David Arnold’s score comes over as a bit relentlessly strident – but Bowen copes admirably.

Alex Tomkins is Eddie, her husband who is really much more at ease joshing with his work mates than being domestically considerate. He too matures as the story progresses, but not to catch up with his wife. The large cast provide amusing sketches, caricatures and cameos of the Ford hierachy, the union bosses at local and national level and the politicians who so reluctantly have to become involved.

These include Claire Machin’s no-nonsense Barbara Castle, Graham Kent’s pipe-chewing, raincoated Harold Wilson, Angela Bain’s loud-mouth machinist (every other word an expletive), Loren O’Dair as the intellectual wife – who rebels against being a mere decoration – of the personnel manager (Jamie Noar) and Jeffrey Harmer’s show-stopping Mr Tooley, the US boss flown in to get things moving his way, a sort of Donald Trump avant le lecture.

In the late 60s and mid-70s, agit-prop theatre seemd to dominate the fringe, both in London and in other conurbations. Douglas Rintou’s production has strong elements of this, reinforced by Hayley Grindle’s bleak set which, with its minimal use of furniture, keeps the action fast-moving. Many of the cast are also instrumentalists, well co-ordinated by musical director Ben Goddard.

Made in Dagenham runs at the Queen’s Theatre, Hornchurch until 17 September with matinées on 1, 8, 10 and 15 September. It then transfers to the New Wolsey Theatre, Ipswich between 21 September and 15 October with matinées on 22, 24 Septeber, 1, 5, 8, 1 and 15 October.

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Filed under Music & music theatre, Reviews 2016

Flare Path

(reviewed at the Theatre Royal, Bury St Edmunds on 2 March)

The co-production between the Original Theatre Company and Birdsong Productions of Terence Rattigan’s Second World War drama Flare Path has been recast for its 2016 tour. Slipping a new cast into a production designed for a different set of actors is often an illuminating process.

Justin Audibert’s staging is straightforward with a semi-realistic set and costumes by Hayley Grindle. The min plot revolves around Flight Lieutenant Graham (Daniel Fraser), his actress wife Patricia Warren (Hedydd Dylan) and her former love film star Peter Kyle (Lynden Edwards). We are in the main reception room of a hotel near the air-base where the bombers and their crews are based.

The sub-plot concerns a Polish Flying Officer Count Skriczevinsky (William Reay) who seeks vengeance on the Nazis who killed his wife and children. He has remarried, a good-hearted former barmaid called Doris (Claire Andreads); theirs is a complex relationship and whether or not it will survive the end of hostilities is left open to individual interpretation.

Edwards makes the (now fading) screen heart-throb into a man who is outwardly assured but inwardly both needy and selfish. Fraser makes much of the big, ultimately very moving scene where Graham returns from an operation and admits the strain under which this puts him to his wife. Dylan and Andreadis both bring their characters to life and there’s an abrasive cameo of the hotel proprietor Mrs Oakes by Audrey Palmer.

There is comedy as well as drama in Flare Path, mainly provided by Sergeant Miller (Jamie Hogarth) and his wife Maudie (Polly Hughes). Reay for my taste doesn’t quite fit into Skriczevinsky’s boots; he plays for laughs which seem at odds with the driven essence of the man.

Flare Path runs at the Theatre Royal, Bury St Edmunds until 5 March with a matinée on 5 March. It also plays at the Mercury Theatre, Colchester 7-12 March.

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Filed under Plays, Reviews 2016

Flare Path

(reviewed at the Arts Theatre, Cambridge on 28 September)

Getting the on-stage nuances right for any historical period is a triple effort, shared between director (Justin Audibert in this case), designer (Hayley Grindle) and – above all – the cast. Rattigan’s 1942 drama Flare Path takes place in the lounge of a hotel near an airfield, from which bomber and fighter pilots take off for their nightly flights over Germany. It’s a mission from which far too many will never return.

The officers and senior crew members use it as a sort of club, an alternative to the cramped messes and briefing-rooms of the station. Wives also take up residence, both short- and long-term, to snatch a few precious days with their menfolk. Enter a film star, predatory cockerel in this hen-roost, though with his intentions aimed purely at one particular resident.

This is where the production lets itself down somewhat. Leon Ockenden fails to radiate the tinsel-town alpha male glamour of Peter Kyle – think Clark Gable or Errol Flynn – of the expatriate leading man who is seeing his studio’s reliance on his box-office drawing powers fading rapidly. The girl he wants is actress Patricia Warren (Olivia Hallinan), with whom he has had a passionate on-off affair and who is now married to Fl Teddy Graham (Alastair Whatley, the artistic director of production company Original Theatre).

Whatley makes much of his second-act admission to the terrible effect which the bombing raids are having on him, both for the physical danger he encounters and through the regular loss of men who have become more than usually close comrades. I was less convinced by Hallinan’s posturing; one never quite believed in the character as an actress or in her obvious appeal to two such very different men.

The smaller rôles are well taken, notably by Siobhan O’Kelly as Doris, the barmaid now married to a Polish count who lost his original family to the Nazis and is, understandably, focussed on revenge. Simon Darwen’s Sgt Miller, Philip Franks’ Sq Ldr Swanson and Adam Best’s Count Skriczevinsky are also well-rounded portraits of people as well as of types.

Hayley Grindle’s costumes look right for the clothes and uniforms of the period and her sts is an effective blend of naturalism and symbolism. The central acting area gives us the by now slightly battered lounge, backed by an enormous red-curtained window and with a realistic fire in the footlights-level hearth. But this isn’t a box set, such as Rattigan would have envisaged for the original prodction. Instead it’s flanked by a suggestion of twisted, blackened metal and a bare-branched tree. Dominic Bilkey’s soundscape is almost frighteningly three-dimensional as the aircraft take off – but don’t always land successfully.

Flare Path continues at the Arts Theatre, Cambridge until 3 October. It also plays at the New Wolsey Theatre, Ipswich between 19 and 24 October and at the Palace Theatre, Westcliff from 16 to 21 November.

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Filed under Plays, Reviews 2015