The Hired Man - Review

Union Theatre, London


****

Music and lyrics by Howard Goodall
Book by Melvyn Bragg
Directed by Brendan Matthew

The Hired Man Company

Taken from Melvyn Bragg’s acclaimed description of England’s Lake District as the 19th century passed into the 20th, The Hired Man is a richly fruited glimpse of a way of life long since passed. Howard Goodall’s melodies encompass a range of traditional English sources, as the musical’s narrative charts a transition in the nation’s working men (and women), from open-skied agriculture to coal-consuming heavy industry against a backdrop of The Great War.

Brendan Matthew makes a decent job of the libretto’s vast landscape. From the opening Song of the Hired Men, both the time and the place of the show are firmly anchored as we chart the titular John Tallentire’s arc through a challenging life and love.

Playing Tallentire is Ifan Gwilym-Jones who convinces as the muscular man of the land, far happier behind a plough than a coal pick, but ultimately forced to work the pits when the money for labourers dries up above ground. Gwilym-Jones possesses a fine voice, never stronger than in the first half denouement of What A Fool I’ve Been which is spine-tingling in its intensity. Elsewhere though (and along with many other members of the company) his voice is hard to hear - and this from a reviewer sat in the front row! Sasha Regan’s Union Theatre is truly a beautiful off-West End performing space, but (and this has been said before) producers need to mic their casts if many of these well trained voices are even to be heard, let alone appreciated. 

Opposite Gwilym-Jones, Rebecca Gilliland plays Emily his wife, bringing a focussed energy to a role that draws on complex emotions. Gilliland has a presence (and vocal power) that commands the stage and she makes fine enthusiastic work of Now For The First Time, along with the far more challenging If I Could. She also cleverly enlivens the complex passions that burn inside one of Goodall’s most intriguing leading ladies, not least in a heartfelt I Wouldn't be the First.

Notable amongst the company is Jack McNeill who captures the pre-teen and teenage youthfulness of the Tallentire’s son Harry, while at the opposite end of the age spectrum Christopher Lyne turns in all manner of magnificently voiced cameos, playing the story’s older men.

Jonathan Carlton puts in a fabulous shift as Seth, John Tallentire’s brother who becomes a committed Trade Unionist, fighting for miners’ workplace safety. As a history lesson The Union Song does well to remind us of the honourable, proud and decent principles that were once at the core of the Labour movement. There’s yet more history on offer with the show’s reference to the First World War. Goodall’s heartfelt chords (and that sublime key change) in Farewell Song will always make a loving tribute to those who never returned, even more so this year as we mark the 100th anniversary of the horrific Battle of Passchendaele.

Matthew’s direction is at its best in the ensemble numbers where Charlotte Tooth’s imaginative choreography supported by her lithe and graceful dance captain Rebecca Withers offer up some of the finest movement currently to be found on London’s fringe. The Union space is compact and in the show’s large routines that take place in the market square, the tavern and especially The Work Song, Tooth’s work is a visual treat.

At the keyboard Richard Bates works hard directing his two strings players. Goodall’s northern English tunes typically work best with a spot of brass, but notwithstanding this gap the musical accompaniment was polished and perfectly delivered.

The Hired Man makes for a pleasing evening’s entertainment and if some dodgy sound and lighting cues can be ironed out, this show may well yet mature into a truly fine production.

Runs until 12th August 2017

Photo credit: PND Photography

The Clockmaker's Daughter - Review

Trinity Laban, London


****


Written by Michael Webborn and Daniel Finn
Directed by Michael Howcroft

Spindlewood, like most towns, has its time old traditions. But no tale is so firmly adhered to as ‘The Turning of the Key’. Every year, on the last night of winter, as the first day of spring unfolds, the Northern townsfolk gather to take part in a strange ritual to honour its oldest legend.

Spindlewood was once home to a clockmaker, Abraham Reed. A tormented genius who, stricken with grief over the loss of his beloved wife and through methods hidden even to himself, created something much, much more than a machine. Every year the Townsfolk now meet in the centre of the town square, where a statue bearing the likeness of a young girl stands, poised and still. This is Constance and she has stood in the square for as long as any can remember.

With direction from Michael Howcroft and a minimalist but highly effective set design from Amy Yardley this epic new musical has been visually scaled down and made more simplistic, though this does not deter from the stunning score, story line or performances given by the students of Trinity Laban. What it may lack aesthetically has been more than made up for with intricate costume, creative staging and the sheer blossoming talent on stage.

The ensemble did a phenomenal job in creating the feel of the ‘stuck in its ways’ town, Set in the North of England as opposed to its original setting in Ireland, it gave the townsfolk more of a working class feel that helped differentiate the class divide. Note must be given to Jenny Arnold for her stunning choreography, her use of movement in the final number of act one, Raise A Glass, was a joy to watch and showed true vision.

Alexandra Davies gives a hilarious performance as the vicious and wholly self-centred Ma Riley. Her delivery and comic timing of the witty dialogue shows the makings of a truly fabulous actress. Despite her negative attitude to her work life, her employees and even her own son Will, Davies’ delivery makes this a character that you cannot help but love to hate and hate that you love.

Similarly, Leo Rowell in his performance of The Clockmaker showed a maturity beyond his years with an emotional delivery of the tragic storyline and a rich, beautiful voice that suited the dramatic composition.

Two specific mentions must of course, go to the key characters Constance and Will, played by Christy Bellis and Jack McNeill. The writings of Webborn and Finn are not simple, but with a powerhouse voice and a stunning, emotionally involved display of acting, Bellis shows real intelligence in her depth of character. She hits all the marks, not missing a beat, whether it be comedy, heartbreak or sheer elation. Her final number in Act 2 was suspense-filled and mesmerizing. 

Likewise McNeill is definitely one to watch. Easily embodying the charm and playfulness of Will, he is desperate to escape the mundane nothingness of Spindlewood and you do not doubt for a second his adoration for Constance. He is a constant presence on stage and is a joy, not only to watch as a clearly skilled dancer, but to listen to. His clear quality of voice makes him a stunning tenor whose overall performance was faultless.

The future looks bright for Trinity Laban’s graduating year!

Reviewed by Charlotte Darcy