‘Nothing changes if it isn’t challenged’
In 2021, the median gender pay gap in the UK lies at 15.4%.
On the 2nd of March 2022, I had the privilege of seeing LUU Music Theatre Society x Backstage Society’s third show of the academic year, ‘Made in Dagenham’. Based on both real-life events and the 2010 movie, the musical follows working-class Essex mum, Rita O’Grady, through the highs and lows of campaigning for equal pay in the Ford Factory. Through strikes and heartbreaks, laughs and cries – director Daisy Fox with her assistant, Alice Gedye, lead us on an emotional rollercoaster in a night to remember.
The opening number set in the O’Grady’s household, ‘Busy Woman’ acted as the perfect appetizer for what the next two and a half hours would entail – women getting stuff done.
I instantly knew I was in for a treat when I heard the vocals of our leading lady (Rita O’Grady) played by Ellen Corbett. A clear and smooth alto tone, that wasn’t afraid of a belt or sweet vibrato. She commanded every scene she was in with her stage presence, and chemistry with all of the characters on stage- which is a rare sight even in some of the most professional West End productions.
When I saw that her two young children, Sharon and Graham O’Grady, were to be played by students who were the same age as the cast, I was sceptical and feared I would be unable to suspend my disbelief. However, the high energy and physical characterisation both Imogen Banfield and Cam Griffiths brought to the roles immediately washed my concern away.
And the final member of the O’Grady’s, Eddie O’Grady, played by George Marlin, really tied in the perfect hyperreality of a 1960’s family. His cool ‘with the boys demeanour’ versus his vulnerability in the song, ‘The Letter’, truly highlighted Marlin’s range as an actor, with no eyes left dry in the house.
Funny, and charismatic – I was excited to see this family dynamic play out on stage.
We then move on to meet the male ensemble, in what I can only describe as a wonderful nod to ‘Grease Lighting’ in their blue overalls and their laddish behaviour which acted as a strong contrast to the image of the pristine 1960s housewife portrayed by the female ensemble with their bright florals and bouncy curls.
The high standard set from the leads was simply mirrored throughout the ensemble. Their presence always maintained the utmost levels of energy and expression, and their contribution really solidified the entire performance for me. The harmonies taught and (I imagine,) drilled into the ensemble in just four short weeks by the musical directors, Zara Harris and Alex Boulton, truly paid off. Kudos to all involved!
Although a few set changes were sometimes slow, it was nevertheless nice to see the cast work in unison to transform the stage into new locations, such as the factory, the local pub or parliament. And the pace soon picked up with jaw-dropping riffs by Mia Ruby Crockart (Sandra), perfectly timed comedy by Vicky Katzarov (Beryl), the ditsy allure by Freya Mactavish (Clare) and the longing of out-of-reach dreams from Emma Wilcox’s character, ‘Cass’.
What was perhaps my favourite dynamic on stage, was that between Prime Minister Harold Wilson (played by Harry Toye), his advisors, and Barbara Castle (played by Caitlin Etheridge). With an hilarious insight into what goes on behind the closed doors of the Government, these scenes provided comedic relief to the main storyline of striking and poverty-stricken troubles the women faced.
In an almost Shakespearian ‘The Witches’ kind of way, the Prime Minister’s advisors merrily suggest that printing more money will solve all problems in the economy, to which the easily-led Harold Wilson agrees. Toye and Etheridge received much of the audience’s love through their bickering dialogue, so much so that almost all dialogue between them received a laugh. It also has to be said that Etheridge’s spot-on Yorkshire Accent and applause-erupting belt proves “though she be but little, she is fierce”.
Now onto two very opposite moments in the show- the scene that made me laugh the most and the scene that made me cry the most. The show-girl-like dance routines in ‘This Is America’ and ‘Cortina’ were SO fun to watch. Alex Lewis who played Mr Tooley provided the perfect villain in the show, embodying a sleazy character with such clear physicality, whereas Daniel Newman who played the Cortina man provided some light-hearted comedy with his beaming smile and animated moves, almost as if he was protecting us from the imminent heartbreak.
This then brings me onto Connie, played by Holly Condor. Connie acts as Rita and the girls’ guide throughout, encouraging them to go on strike. However, her breast cancer worsens with time, and just when Rita feels she needs her the most, she passes.
Condor’s vivacity in playing an independent, strong-willed feminist shone throughout her rendition of ‘Connie’s Song’ and the delivery of my two favourite lines in the show, “If not now, when?” and “Nothing changes if it isn’t challenged”. A character like Connie is someone we all ought to look up to.
Finally, I could not finish my review without mentioning what a wonderful job all the behind-the-scenes crew did, specifically the lighting designer, Lucy Dennant and their assistants: Daisy Bennett and Faye Thompson. The lighting changes truly brought the magic of theatre to life, and the use of red lights during the protest scene definitely sent chills down my spine. Despite a few mic issues, the backstage crew resolved them quite quickly and efficiently, and I am sure after the opening night, things were a lot smoother.
As for the band, they were absolutely flawless, so much so my friend was convinced that the entire show used a pre-recorded karaoke track for the songs. I cannot applaud Zara Harris and Alex Boulton enough for this, especially again, as this performance was executed in merely four weeks.
By the end of the musical, Barbara Castle tells the girls to aim for 92% of the pay that their male counterparts receive, which Rita rejects. She then speaks in front of the parliament to get Equal Pay, which wasn’t made legal until 1970 – two years after the musical is set. It still ends in a positive way with Corbett standing in the spotlight and once again proving that “if you want something done, ask a busy woman”.
In 2022, the Equal Pay Gap in the UK is still too big. We must strive for better like the women at Ford. For more information about this read here:
Words by: Anna Duffell
Edited by: Harsheni Maniarasan