Melvyn Bragg's look back at the life of his paternal grandfather is not just a piece of nostalgia. Although these elements are present of course and obviously this is a subject very close to the author's heart, he looks past that superficial level of the story and uses parts of it to highlight the social injustices he sees in the period. Despite this strong element it does at times go near to becoming over-sentimental in its attempt to show how wonderful these people, from farm labourers to coal miners, were in creating such a good life in such harsh conditions. Because it goes so near that path which only tells part of the truth albeit an important part about these people it is very easy to overemphasise the rosy nostalgia and spoil the balance of the show.
Fortunately here we had a Director who whilst being completely committed to the subject could still see it "warts and all". This attitude helped to save the ending of the show which is the one place where Bragg does tend to get a little over-sentimental and rather drag things out. I know he still has a great deal of information to impart at this stage but it does all tend to come out on one level. It needs a change of direction and pace to keep the interest level as high as it had been earlier on in the show. This honest approach by a Director and an equally committed cast didn't solve the problem but it did lessen it. The same sincerity which earlier had done so much to make the world war one scenes so real and moving was continued into this final sequence. No complaints, therefore, about the manner in which these scenes were portrayed. My quarrel is not with the Company but with the author. It was this sincerity and the way in which the Players delved so deeply into the emotions of the characters which was the great strength of this production.
This is a show which requires an enormous amount of work prior to the opening night. First and foremost comes the setting. I have seen this show successfully presented in the round, or to be more exact with the audience filling the opposite corners of a rectangular shaped hall. If you had a stage with all "mod cons" at your disposal then I dare say a standard proscenium arch stage would suffice. In a hall like this one even with its great width setting the fourteen scenes and moving between them efficiently and swiftly would I believe have been a virtual impossibility. Obviously the Director formed the same opinion and with his Set Designer came up with a workable construction which gave him all the options he required. Because the design brought the existing area so far out into the auditorium the fixed position for the two houses was quite a way back despite being set centre front of the original stage area. Visually this was fine. A strong position and because it was slightly raised from the rest of the staging, a dominant one.
Being so far back of course it did give the actors an added problem in that they had to constantly be aware that when working in that area they needed to give extra projection to the dialogue. There were just a few occasions when this rule was forgotten and the odd word became blurred.
I liked very much the way in which the designer had not been content to just give the stage one big thrust area. Here we had an area below the level of the rest of the stage and this gave the Director a chance to leave people on stage but not in direct eyeline while other areas were in use. It also enabled the orchestra to be accommodated comfortably into the picture solving this difficult problem of ensuring that the players could hear them clearly without making them intrusive as far as the audience were concerned.
All this good design work was enhanced by some excellent set dressing ranging from the farm gate to the contents of the two houses. Incidentally the fact that the staircase really went somewhere made the house set look very real and of course it gave some important height to that part of the stage. A fine table and chairs and that lovely leaded range, the lamps all found in the labourer's cottage and then the change to the ordinary armchair, a cloth on the table and the range now moved into a different position for the miner's cottage. All these elements combined to make an excellent realistic picture.
The other great plus or minus when it comes to picture making is of course the costumes. Take out the few items that jarred and this set were a distinct plus. I did feel a little sorry for May who came on first in that very nice, in fact little too nice for a ramble in the country, brown skirt, light blouse and excellent boots. Later when she goes to work in the shop we have a nice change of hairstyle but the same costume. In fact as time went by and other people had changes of costume poor May was still there in the same outfit. Incidentally it was nice to see a Mother and the two daughters with the same hair colour. Caps, such a common item for working men, have in fact changed considerably over the years. You would be surprised the different fashions that have come in and out with this garment over a period of time. Not all of these were in period but in view of the number needed and the difficulty of obtaining period caps those on view were fair enough.
When it came to period pieces the soldier's uniforms and that old fashioned Lea Enfield rifle were excellent. Amongst a fine collection of walking sticks there was one that didn't look anywhere near rustic enough for the gentleman carrying it. There were some lovely shawls and scarves on view and often these were used to cover the hair. Short hairstyles were hardly ever seen pre-1918 and it would have been better if those who could not disguise a modern style had made sure that they were covered in some way or another. It was distracting to look at a lady to see that she was in period from her toes right up to her hairline and then suddenly she changed to become Miss or Mrs 1990s.
Having created these interesting areas and some very good pictures you now have the problem of lighting them both individually and as a whole. This was a problem solved with great efficiency by the lighting team. Whether it was an individual spot as for the Emily, John, Jackson trio or the changes of light from sunshine to moonlight they were all achieved with a deceptive ease. The mood of the moment was captured beautifully as well as the actual lighting of the subject as such. The tricky problem of mixing the specialist effects of trench warfare with the house in the background proved only a minor obstacle for this talented team. I was not completely happy with the business of Harry, the flag and the poppies. It was all staged very well but I found it rather contrived and gilding the lily a little.
The sound team come into action in little bursts so great concentration was needed. No missed cues from this group and with the lighting crew they helped to make the most of the scene in the trenches.
A word of praise here for the make-up team who did just enough bloodletting to the injured soldier. He really did look wounded, not like a fugitive from a "Hammer House of Horror" film. It meant that when he died very gracefully surrounded by the four beautifully costumed nurses many of the audience were greatly moved, me amongst them.
A less impressive contribution from the sound team was the accident in the mine. This did not come over sharp and clear enough. It may well have been that the hall speakers were the culprits and responsible for the blurred quality of the sound. This is an important part of the story and if the speakers were the cause of the problem you can use this complaint as another lever to try and get an improvement in that facility from the hall committee.
All the good effects on view of course would have counted for nought if we had had a cast who was not highly disciplined in its approach. This big company were given almost carte blanche at times to wander across a wide area and the use of so many entries and exits could have resulted in some very messy movements indeed. Fortunately for all concerned this company moved around like a well rehearsed troupe of dancers. They created some lovely cameos during the crowd scenes and apart from the occasional lapse maintained their wide variety of characters well throughout the evening whether they were involved in or reacting to the action around them. A good example of this was Jo Sharp who gave just enough of the impression that she was concerned about what he had done after sending Jackson out to meet Emily. Particularly impressive were the women dressed in those fine shawls waiting for the outcome of the union meeting. This is a very true scene because although fully involved in the matters their husbands were discussing they would not have been allowed any direct input to the meeting. The discipline showed by these women as they stood slightly in shadow until the time came for them to join the men was excellent and it ensured that when they did join the men the scene was completed on a high note.
They left me, as did all the cast, with a very strong impression that they fully believed in the play and were completely committed to it as, of course, was the Director and this is the over-riding impression that I took away from this fine production.
JOHN
Any character who has to move from youth to mature middle age sets an actor a number of additional challenges. If you are not careful these challenges become so dominant in the actor's mind he does not give enough time to explore the motives of the character and we end up with a one dimensional figure. Early on you appeared to be a little too neat a figure compared to brother Isaac and the character itself was rather restrained. As the emotional level rose so did the performance. By the time the trio with Emily and Jackson was reached you had created a very definite character.
The move from farm to town with the ensuing change of age group was completed smoothly and realistically. You took advantage of some good writing here to show us the change in your attitude to life and people. I could see signs, all be they softer ones, of my own maternal grandfather in your attitude towards the children. The "What would you say to your son?" song was a musical highlight for you. It also showed Emily, May and Harry at their best as they first froze in position and then gave just enough reaction to underline the meaning of the words.
In the trenches you effectively portrayed one of a generation who considered it to be their duty to fight never fully questioning the reasons for them being there. You looked good in the uniform and handled the rifle with the ease that a soldier who had been "up front" for some time would have shown. One of those places where the show could have drowned in a sea of sentimentality was the reading of the letter from the trenches. Your delivery of that part of the text ensured that this was not going to happen. That, combined with Emily's response to the matter, made this an emotional but not over-sentimental scene. The "No Choir of Angels" duet with Emily continued in this vein being sung with feeling and poignancy.
The lighting team helped you a great deal in the final scene. That solo spot picked you up allowing the others to move in position in the semi darkness before the lights opened up to reveal a full company making excellent use of the entire stage area.
A final nice touch was to have you not join in this last chorus. I made several notes throughout the evening that I wanted to see more involvement and emotion from John. Then as we moved towards the end of the play and the self-recriminations came out about your life with Emily, I conceded you had the balance just about right and my ideas would not have improved a very good interpretation of the role.
SETH
This figure from the early days of trade unionism is a man with a genuine cause to fight. The deep social injustices of the period and the fight to have even a voice to cry out against them are all close to Seth's heart. At the start of the play when a rural lifestyle is still more the norm and most people were if not content reasonably happy to carry on with the status quo Seth is a more isolated figure. In trying to display this taciturn man you did make some of that early dialogue a little too stiff and stilted. I don't know how well you got on with the whippet but you looked completely at home together forming the sort of band which was so often forged between a working man and an animal. In other parts of the country it was a terrier and in that other great coal mining district South Wales it was a greyhound. As regards racing I do not think that nice and well behaved as the whippet was that much of my money will be riding on it. With due respect I suspect it's best racing days are well behind it.
Because you are not as close to John and his family as Isaac we have to wait longer for your interventions into the plot. This naturally makes life that much more difficult for you. The confrontation between you and the well played boss's man Ted broke out realistically. Lovely extras in this sequence with the fine Union banner and the beautiful harp solo which here as elsewhere skilfully and enjoyably covered the change. You took your opportunities in this sequence to really establish what otherwise would have been a very shadowy figure.
ISAAC
The big bluff Isaac with his simplistic view of life and his emotions always up front is if you are content just to play him on one level easy to portray. Whilst that would have been acceptable it was much nicer to watch somebody who was prepared to search amongst the corners of the character to give us a much fuller presentation. Physically with a sizeable frame you presented the right picture of a fun loving country man. Personally I would have liked to have seen a little more of the well staged wrestling match. You made sure that the vocal style matched the rest of the character. You left us with the lovely feeling that here was a man whom you could trust and one who would be completely loyal to his friends. The philosophical way in which you accepted the loss of your leg was completely right for Isaac. Probably the greatest strength in this performance was the way in which you maintained the character whether you were the central figure or had stepped quietly into the background with the rest of the company.
JACKSON
An interesting character is Jackson because although he is part of the ruling classes he is also a born rebel. This rebellious nature can easily be portrayed as a spoilt rich man's son being self indulgent and caring little for other people's feelings. If you do go down that road it rather cheapens the relationship with Emily and also takes away any sympathy we may have for Jackson. I am glad to say you made him much more than just someone perverted by having an easier lifestyle than those around him. Even when you tried to take Emily away from John this is not so that you may stay in the safe environment where you are but to chance your arm in a new country where your advantages will count for little. The conflict with Father was swiftly and strongly drawn and your rebellious nature underlined by your willingness to test yourself against Isaac in the wrestling match.
Your handling of the scene with Sally who is obviously infatuated with you was nice, light hearted but never cruel. The relationship with Emily blossomed naturally but the duet "I Wouldn't Be The First" was not as good as the dialogue which preceded it. Your solo "Here Your Voice" had the advantage of a lovely harp accompaniment. You looked quite at home with that shotgun and brace of pheasants and handled the scene with May skilfully. There was just a hint that your feelings for Emily had not changed but never a threat that you would allow May or Harry into your secret. We could easily see why Emily was drawn towards this man and why it was not just a cheap infatuation between them. That also made more sense of the fight, again a little too short for my taste, between you and John.
When we heard that Jackson was dead we were sorry because the man you had created was fundamentally a nice soul who neither fulfilled his promise or found true happiness.
EMILY
You made the long trip from eager young bride, and how well you portrayed that fairly bursting at the seams to set up house with John, to wise world weary Mother look easy. It isn't of course especially with the many other routes you have to go down in between. We could almost feel the excitement in you as you watched the wrestling match and the agony as you wrestled with your inner feelings between John and Jackson. You depicted equally well a battle of a very different kind when you tried to stop Harry first going down the mines and then joining the army. The change in your relationship with John was drawn skilfully. The first full flushes of passion cooling and then destroyed by the affair with Jackson followed by a comfortable loving relationship with staid rather dull John which made up for what it lacked in passion by a sense of permanency and reliability. Vocally this performance was as sound and enjoyable as it was dramatically. In the early scenes physically with your tousled hair, well chosen clothes and good boots you presented an ideal picture of Emily. You aged gracefully in appearance and the voice and movement moved on with you. These latter scenes stretched you dramatically in a very different direction to the earlier ones. It was a test you passed with flying colours. A Mother's worry for Harry and the grief which followed his death were conveyed with great feeling. As was the concern for John in the trenches and later back in the mines.
As your health gradually began to fade leading to death you never overplayed your hand and became self indulgent and it was, therefore, realistic. To die on stage is always a difficult thing to do and often draws titters from the audience no matter how serious the scene may be. The quality of your demise can be judged by the silence with which it was greeted by the audience.
This was a performance full of good things always holding our interest and a pleasure to listen to.
SALLY
This was a very nice thoroughly enjoyable performance creating a lovable character. On first acquaintance it was full of the naiveté that an ill-educated country lass would have which made the quizzing of Emily for assistance completely believable. The feigned shyness when talking to Jackson was the perfect foil for his gentle kidding. When we next meet you, you have turned into exactly the sort of woman we would have expected, comfortable in her life and with herself. There was just a tiny hint of regret but no remorse or angry looking back at what might have been. Jackson may not have ever fallen deeply in love with Sally but he was a fool not to take up her offer because she would have given him a very happy, comfortable life.
MAY
It was not just in the colour of the hair that you could see a great deal of the mother in May. This was a juvenile version of the next generation of Emilys. On first acquaintance you were very much the inquisitive young girl but even here there was a maturity about you compared to Harry. You took this character nicely into the "You
Never See The Sun" number acting it out as well as you sang it. The change, with hair now worn up, to the shop girl was subtly achieved. At the same time, as you showed in the talk about the sea being over the mine shaft, the bubbly girl was still there close to the surface. It was a pity that the story could not have progressed further because I am sure that had that luxury been an option this good characterisation would have blossomed extremely well.
HARRY
Without being rude about Harry he is not one of life's deep thinkers. Even when given sound advice as he was about mining and the army, Harry cannot see very much further than the obvious choice on offer. If you are not careful such a character can come over as rather silly and in Harry's case you cannot afford to let this happen. If you do we do have sympathy with him and the whole sequence leading up to his death becomes a hollow sham. Fortunately you avoided this trap making Harry a real and believable figure and acceptable even when pushed to the limit in that patriotic flag waving scene. Like May you subtly took the character from schoolboy to soldier. Not so far a journey in your case as it was for May. Most importantly you created a Harry we could accept as a part of the family.
PENNINGTON
A rather underwritten role is Pennington. Nearly all the information we have about him comes via John and his son Jackson whose views are rather prejudiced. With those nice leather gaiters you looked like a reasonably well off farmer. You also managed to convey Pennington's blinkered view of life which with these limited opportunities was no mean feat. This was a figure we could easily pick out in the crowd but not because he was trying to attract our attention. You had the skill to know that had you tried to embellish the portrayal any further the balance would have been wrong.
LANDLADY
I suggest that if sometime or another Les Miserables becomes available that you have a go for the part where you get the pleasure of singing that lovely melody "Master of the House" because this really in many ways was a sort of English version of that lady. You busied yourself about your business looking and moving like someone used to handling the people of this rural community. The fact that there was no formal set to depict the inn made life much more difficult for you and your customers. Despite this you and they all combined to give the impression of the changing modes within such an establishment at this period.
MAY as a child
I know the colour of the hair helped but there was more in this performance than that to make sure that young May looked as though she was the daughter of Emily and that she would grow up to be the May we see later in the play. This was a very well disciplined performance. It was at the time when young children even in a family like this one tended to be seen and not heard very often. So without the aid of great tracts of dialogue you still had to give us the impression that this was a well loved child and this you did admirably. You were an integral part of John and Emily's family and made the things that were happening in their life more poignant. A performer who undoubtedly, given a few more opportunities, would have been a scene stealer.
WHIPPET
I really paid my respects to the whippet earlier on and would just like to add my congratulations to the owner, the trainer and the handler for the way in which Whippet performed on stage.
One thing I would like to add here which is very remiss of me as I did not do so earlier was to congratulate the Musical Director and the Orchestra on the part in which they played in this production. Not only were they always a pleasure to listen to but the manner in which they accompanied the singers, whether it was chorus work or solo work, was of the highest standard throughout. You caught the changing moods of the story and captured the period perfectly. With this quality of musical input the Company had every opportunity to make the very best of the music within The Hired Man.
My apologies for rushing in at the very last moment. Many thanks for your kind reception and for your hospitality.
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