Made In Dagenham

MADE IN DAGENHAM
Tue 14 - Sat 18 May 2024
Theatre Royal Bury St Edmunds

Director/Choreographer: Dan Moore
Musical Director: Sophie Parry
Production Manager: Jillian Craig

Cast

Rita - Jess Corbett
Eddie - Craig Fisher
Rita Understudy (Sat Matinee)/ Flo - Holly Wright
Connie - Fiona Barker
Monty - Nic Metcalfe
Barbara Castle - Alexandra Fouracre-Smith
Harold Wilson - Phil Cockell
Sharon - Dill Baird / Sophie Goodchild
Graham - Noah Long / Callum Fisk

Beryl - Sam Thurkettle
Clare - Jess Cleverdon
Sandra - Izzie Blair
Cass - Dani Morris
Hopkins - Alex Schosland
Lisa - Yoey Wheeler
Tooley - Steve Murray
Barry/ Cortina Man / Aide - Harvey Gould
Sid / Aide - Teddy Belcher-Hackett
Bill / Aide - Noah Sparkes
Stan / Buckton - Hugh Weller-Poley

Wendy - Julie Baxter
Maria - Sarah Brodie
Mel - Tracy Dougherty
Macer - Robby Fox
Hubble - Joe Pointon
Rachel - Christine Glancy
Jo - Sophie Jewers
Tracey - Kate Mallion
Emma - Zoe Noble
Pit Singer - Beth Martin

Noda Review
Author: Phil Melia representing Julie Petrucci

“Made in Dagenham” transports audiences to a pivotal moment in history – the late 1960s – when ordinary women took extraordinary steps to fight for their rights. With a stellar cast and a soundtrack that tugs at the heartstrings, this production captures the spirit of an era. Stepping into Theatre Royal, Bury St Edmunds, I was graciously hosted by BSEODS royalty – Mel Barnes OBE and his son, Tim. As I received an exquisitely designed program (credit to Sarah Brodie), my anticipation for what lay ahead soared. BSEODS lived up to every expectation! As I took my seat, the set was exactly what I had envisaged in my head, a suitably simple industrial inspired set with stairs up to a gallery and all lights on the breakfast table of the main protagonists.

Throughout the performance, every set piece, including several sewing machines on tables, were seamlessly manoeuvred by the cast. Not a moment was lost; the action flowed seamlessly from scene to scene. From the very first moment, Jess Corbett’s portrayal of Rita captivated the audience. Her character was a delightful blend of humour and unassuming strength, yet beneath it all lay a powerful political conviction. Jess’s vocals were nothing short of commanding, matching the fervour of the TUC speech she delivered with unwavering passion. When she urged everyone to “Stand Up” during the finale, the standing ovation she received was well-deserved.
Craig Fisher, as Rita’s devoted partner Eddie, left an indelible mark. His rendition of “The Letter”, as he tearfully took the kids away, was a poignant moment that tugged at the heartstrings. If there were an award for acting through song, Craig would undoubtedly be a top contender.

Other stand out performances included the comical Harold Wilson (Phil Cockell) or was it Granville from Open all Hours; Connie (Fiona Barker) whose “Connie’s Song” captured the essence of resilience and hope; the impeccably characterised Monty (Nic Metcalfe) the understated factory foreman; Tooley (Steve Murray) the Ameri-can villain hilariously who told us “This is America”; Barbara Castle (Alexandra Fouracre-Smith) with a powerhouse of a vocal in “Ideal World” which resonated through the theatre; Clare (Jess Cleverdon) was so funny in her ditsy yet endearing “Wossname”; along with the other factory girls Sandra (Izzie Blair), Cass (Dani Morris) and the comedienne Beryl (Sam Thurkettle) who drew raucous laughter with many of the best lines in the show – “I look like a F** dinner lady”!
The ensemble exhibited exceptional precision in all aspects: singing, dancing and acting. Typically, my attention gravitates toward those momentarily out of character, but not this time. Each performer seamlessly inhabited multiple roles, leaving no room for distraction. A standout mention goes to Noah Sparkes: an unwavering stage presence.

As a fellow director, I wholeheartedly agree – Dan Moore (Director/Choreographer) and Sophie Parry (Musical Director/Conductor) truly earned that standing ovation shared with the cast. Their tireless efforts behind the scenes culminated in a remarkable production. The choreography during “Storm Clouds” and “This is America” was so simple and effective. I forgot this was an amateur show.I had a chance to chat with Dan and Robert Utting. It was clear that BSEODS, along with the entire cast, thrives on a culture that nurtures the very essence of amateur theatre. For this production, Dan set a challenge: raise £500. Remarkably, they exceeded expectations, raising an impressive £1,500. Notably, Izzie Blair embarked on a sponsored 187km cycle ride, symbolizing the 187 women who courageously went on strike in Dagenham. It was clear that every member of this production had bought into making this show an amazing success.

I was incredibly impressed by this production. So much so that I immediately booked tickets for the following night to attend with my wife and daughter, who also absolutely loved it! A massive well done to BSEODS. Looking forward to Allo Allo 2 in October!