ROSE BOWL ADJUDICATION
NAME OF COMPANY:TAOS MUSICAL THEATRE
NAME OF PRODUCTION:‘MADE IN DAGENHAM, THE MUSICAL’
Book by Richard Bean/Music by David Arnold/Lyrics by Richard Thomas
VENUE:The Arc Theatre, Trowbridge
DATE:Wednesday, 17th May 2017
ADJUDICATOR:Rebecca Thompson
Presentation
Scaffold structure gave you two levels and, although the higher level was slightly awkward to access, it did provide opportunity for inventive blocking. Scaffolding was decorated with banners and car tyres; the latter and the metalwork of the framecontributed to the feel of a factory. Tables and chairs were added for office scenes and an attractive washstand effectively turned around for the 'clocking in' station. Some of the scene changes were a little slow and I do questionwhether all were necessary. The 'half Cortina' was an excellent addition to the promotion scene and the initial brown teapot and embroidered tablecloth made me feel nostalgic.
Some effective lighting moments - I loved the way white lights were dimmed during the intense, union episodes. Backdrop was well lit in a pink hue for some of the girls’ numbers and the very efficient dimming at end of scenes helped the fluency as new furniture was set. Light on upper level was well distributed and head mic's forall players gave a good balance of sound. FX including clock and plane were again well-balanced and precisely cued.
The combination of both waisted andwaist-less smock dresses - the styles were changing towards the end of this decade - wasimpactful. Short macs captured the era, as did the range of backcombed hairstyles and Alice bands. Bold earrings, big glasses and the white, knee length plastic boots were striking accessories! Blue overalls for the men contrasted with the grey suits of managers. Barbara Castle's attire was suitably dowdy.
Direction
Based on the factual events leading up to the passing of the Equal Pay Act in 1970, Made in Dagenham, the Musical centres around the attempts of Ford seamstress Rita O'Grady to fight for equality in the workplace. Rita's passion and drive are at the heart of this show - and these you had in abundance. From the onset it was obvious that the whole cast had connected with the plight of the Ford women - and it was this connection that gave the production its momentum.
This is a busy show; there are a lot of characters and scene changes involved. Characterisation was strong. The show depends on a convincing lead, and from her first appearance Rita presented a wife, mother and employee who was both capable and compassionate. Her growth from seamstress to Union speaker was also very evident. The range of characters who worked with her and against her established an impactful, textured picture of the era; the age range of your ensemble also created a very credible representation of the factory workers. Union delegates and bosses were a contrast - although in terms of vocal delivery and physicality I think the inflexibility of Rita's opposition could have been presented with more consistency and antagonism. Similarly the American contingent, although humorously and thoughtfully shaped, were a little understated in their representation and the impact was slightly undermined. Bothpoliticians created wonderful characterisations of these famous leaders - that were both humorous and telling.
Pace was definitely sustained, but at times it was a little rushed; you created some lovely moments of emotion and grouping, but these weren't held, so we weren't able to appreciate them. The focus on the scene changes sometimes distracted from the mood established in the park or hospital for example. This is a small acting space and facilities are comparatively limited, so I did wonder whether simplifying some of these scene changes in terms of furniture and decor would have helped here. I don't think you always needed a desk in the office scenes; each character bringing on their chair and establishing the 'them and us' atmosphere by physical presence and focus would have de-cluttered both stage and scene change, and would have ensured a slightly slicker production.
Although transition between lib' and score was a little clumsy on occasions, pace of lib was good; once the cast settled there was some lovely shaping of banter between the men and the women and you were really starting to point this witty script. The initial factory scene with the boys was very engaging; they were obviously having such fun and presented an attractive atmosphere of camaraderie. Some lovely one-liners from characters, including Sid and Hubble, throughout the show. Grouping was effective - you worked well to establish visual interest and impact in this space. Upstairs level was useful here; the club scene certainly established a sense of bustle and the grouping for the final scenes at the TUC Conference was appropriately strong. Use of auditorium enhanced the concept of a large, imposing conference hall.
You were all having such fun on stage that you drew us into the story and your characters. We were on your side and we so wanted Rita and her women to win. The production drew to a tender and moving conclusion.
Musical Direction
As in the acting, the singing was underpinned by an obvious connection to the message of these great numbers. Thefirst rendition of 'Made in Dagenham' caught the sense of community and fun as the men laughed at and showed love for their home town. This energy and passion was also very evident in the Women's ensemble numbers - 'Everybody Out' and 'Stand up' concluding both acts with a strong sense of resolution. Some of the ensemble numbers were a little undermined by diction - even in an accent it is important to shape the lyrics precisely. Breath support and range of some of the songs were also challenges in some of the solos - but where pitching was an issue, intent and understanding of the story of the song always won the audience over. Rita sung her way through the score with an unaffected, well-pitched and articulated delivery that really shaped her story so very well. The small burst of 'Moon Over Dagenham' created a lovely soulful moment.
Singing was well supported by a disciplined blending of instruments from the band. Some very memorable reed accompaniment here, and use of percussion was atmospheric too. The band definitely supported singers in coping with the tricky timing of some of these numbers.
Choreography
You sensibly kept choreography simple with such a large cast in a relatively small space! The big ensemble numbers were often enhanced with strong head movements and hand gestures that underlined the essence of the song. Endings of these songs were well-timed with a firm, final movement - at the end of 'This is what We Want,' for example. The small group of dancers in the club scene added some nostalgic '60s moves and I loved thedeadpan moves of the line of backing singers in 'Always a Problem.' The dancers in 'This is America', representing cheerleaders and soldiers, broadened our spectrum to across the pond. Dancing was enthusiastic and well-rehearsed.
Playing
RITA O'GRADY
The production depends on a strong lead from Rita and you managed to present a warm, maternal character with an inner resolve. Your dialogue was well-timed and the sense of your growing confidence and ability to lead became evident in our physicality. Unforced, well-pitched and well-articulated vocal contributed to a very rounded characterisation.
EDDIE
Your delivery of 'The Letter' was touching; you captured the heart of this character and supported the delivery with good diction. Breath support was a little inconsistent and this affected pitching, but the portrayal of your vulnerability was powerful. At times you didn't seem totally relaxed physically and I did feel that this affected the sense of the traditional 'man' who was struggling to cope with the increasing voice and power of his wife.
BERYL
As you settled, this characterisation developed into a humorous picture of the coarse, witty factory worker. Excellent rapport with other players, you also introduced some effective physicality into this portrayal. Repetition of 'Have you had Some' was well-timed.
CONNIE
Well cast, you set the tone for an intelligent, ambitious leader. A reactive player, you established Connie's tone of regret in lib' and also beautifully in the delivery of 'Same Old Story. Excellent phrasing during this number.
CLARE
Your confidence grew as you delivered your solo - some good diction here; you were well-supported by Sandra and Cass in 'Viva Eastbourne.' There was an impactful sense of friendshipbetween these characters.
BARBARA CASTLE
A dynamic vocal helped you capture the down-to-earth politician; your portrayal was passionate and warm. This was matched by excellent physicality of this political stalwart.
HAROLD WILSON
Another humorous characterisation - great use of eyes and some very well-timed lines: “They paid for this pipe!” Spoken delivery captured Wilson's accent and pitch very well -and you managed to sustain this with clarity and appropriate emphasis. Longer speeches were very well-shaped. Well done.
MR AND MRS HOPKINS
You both captured appropriate class and position in terms of education and power. Credibleportrayal of your relationship and an excellentgrowing resolve from Mrs. Justbeware too much upstaging in the meal scene and do keep vocal volume and energy consistent in spoken delivery.
TOOLEY
Strong sense of the American- again just sustain volume and breath support in spoken delivery'. This character is meant to be brazen and 'rough at the edges' and a more consistent dynamic will help you establish this.
ENSEMBLE
You were obviously really enjoying the message of this show - and your commitment and enthusiasm,ensured that our interest was sustained.
A very enjoyableevening - thank you for you warm welcome and kind hospitality.
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