Made in Dagenham as presented by Kill Musical & Dramatic Society

Society Name: Kill Musical & Dramatic Society

Show Name: Made in Dagenham

Adjudicator Date of Attendance: 28/01/2025

Brief Overview of the Show and Evaluation of Front of House

Made in Dagenham was staged in a charming church that artfully blended tradition with a modern twist. The venue’s natural character—evident in the quaint pew seating enhanced with provided cushions—transformed an otherwise austere space into a warm and inviting environment. Although initial concerns about comfort were valid, the energy and commitment of the performance quickly elevated the atmosphere.

The front of house staff performed efficiently, ensuring a welcoming entrance and setting a positive tone for the evening. The innovative choice of a church, a space normally associated with solemnity, provided a striking contrast to the vibrant and occasionally irreverent content of the show. This juxtaposition created an engaging backdrop that both surprised and delighted the audience. Nonetheless, minor adjustments in seating logistics and flow could further enhance the overall comfort for future performances.

Director – Direction and Production

Tom McCarthy’s direction was central to the production’s overall impact. Drawing on his extensive theatrical experience, Tom brought a confident yet nuanced approach to the narrative. His direction was punctuated by several “meaty” moments where the intensity and passion of the story were clearly communicated, balancing the dramatic weight with lighter, humorous touches, maintaining the show’s pacing.

The blocking was generally well executed, although there were moments when less experienced cast members upstaged one another. Simple refinements—such as maintaining proper eyelines, employing subtle facial expressions during mistakes, and being mindful of spatial boundaries—could enhance stage fluidity. Notably, the tender exchanges between Rita and Eddie were executed with genuine emotion, contrasting with the less successful comedic attempts around Clare’s character, where timing fell short. Overall, McCarthy’s ambitious and inspiring vision shone through, even as certain elements of stage craft remain areas for further development.

Musical Director – Direction and Orchestra

Emer Hartnett led the musical elements with palpable energy and enthusiasm. The band’s performance was impressively tight, and the musical numbers were delivered with a blend of precision and passion that significantly enriched the production’s emotional impact. Hartnett’s leadership helped underscore the narrative, providing a solid sonic foundation throughout the performance.

However, there was an overreliance on cueing from the cast, suggesting a need for the performers to develop greater confidence in their own timing. While cueing is a useful tool, it should not overshadow the natural flow of live performance. Additionally, there were moments when non-singing actors were inadvertently mic’ed, causing their voices to slip into the mix and detract from the clarity of the musical numbers. Instances of soloists being overpowered by the band also indicated that a more collaborative dialogue between Hartnett and the sound engineer would be beneficial. In future shows, a clearer division of roles—where the Musical Director enhances the performance without becoming a visible distraction—could help elevate the overall musical balance.

Choreographer – Choreography

Imelda Winters’ approach to choreography leaned toward musical staging rather than intricate dance routines—a deliberate choice that largely suited the production’s narrative pace. Winters demonstrated an innovative understanding of how movement can support vocal performances. However, the choreography sometimes stretched the comfort zone of the male cast members, leading to occasional awkward transitions and a slight loss of momentum.

Simplifying the movements to emphasize clarity and rhythm over complexity would allow the performers to express themselves more naturally and with greater confidence. Dedicating additional rehearsal time to breaking down each sequence and internalizing the moves could transform the routines into more polished, expressive components of the show. Overall, Winters’ vision was strong, and with further refinement to accommodate varying skill levels, the choreography can evolve to more fully support the narrative.

Leading Principles – Singing and Acting

Rita O’Grady – Rossagh Cusack

Rossagh delivered a performance as Rita O’Grady that was both vocally robust and emotionally complex. She captured Rita’s internal conflict—a battle between personal desire and external pressures—with authenticity. Her clear, resonant vocal delivery carried the emotional weight of Rita’s journey, while her stage presence drew the audience into every moment of vulnerability and strength. A deeper exploration of the quieter internal moments could further enhance the impact of her portrayal.

Eddie O’Grady – Aaron Stone

Aaron’s interpretation of Eddie O’Grady was marked by warmth and vulnerability. His smooth vocal delivery and approachable stage presence made Eddie immediately endearing. He effectively communicated the character’s internal struggles and stubbornness, inviting both empathy and a touch of exasperation from the audience. His performance was sincere, though refining the balance between the dramatic and the lighter aspects of the role could bring even greater nuance to the character.

Connie O’Riley – Denise Gardiner

Denise shone in the emotionally charged hospital scene, conveying deep sorrow and resilience. Her portrayal of Connie O’Riley was understated yet impactful, reflecting both the personal loss and the drive for change that defined the character. While her performance was moving, establishing Connie as a more dynamic force early on in the production would have provided a stronger narrative foundation for her character’s evolution throughout the show.

Monty – Portrayed by Damien Donegan

Damien Donegan’s portrayal of Monty effectively conveyed a character caught between frustration and a sense of entrapment. His vocal performance communicated the underlying tension and emotional release following key dramatic moments. A deeper exploration of Monty’s internal conflict would further connect the audience to his struggles, enhancing the overall dramatic impact.

Harold Wilson – Portrayed by Tom Noone

Tom Noone’s depiction of Harold Wilson presented a challenging balance. At times, his performance felt overly manic and unsettled, lacking the calm, authoritative presence necessary for the role of a Prime Minister. More controlled movements and a consistent tone could ground the character more effectively, transforming the portrayal into one that is both commanding and authentic.

Barbara Castle – Portrayed by Aisling Burke

Aisling Burke’s performance as Barbara Castle was a highlight of the evening. With strong vocals and a commanding stage presence, Burke brought dynamic energy to the role. Her layered portrayal captured the tension between a deep commitment to the working class and the pressures of the political landscape. Her convincing accent further reinforced the authenticity of her character’s internal struggle.

Jeremy Hopkins – Portrayed by Stephen Fagan

Stephen Fagan’s portrayal of Jeremy Hopkins was a study in self-importance and unlikability. His vocal delivery and haughty demeanor effectively encapsulated the character’s disconnect between public image and private reality. A slight infusion of vulnerability could add complexity, offering the audience a glimpse into the darker undertones beneath Hopkins’s confident façade.

Lisa Hopkins – Portrayed by Grace McCarthy

Grace McCarthy brought quiet dignity and palpable frustration to the role of Lisa Hopkins. Her gentle yet impactful vocal performance captured the internal conflict of a woman caught between societal expectations and personal ambition. McCarthy’s subtle gestures and controlled emotional expression made her character deeply sympathetic, though a touch more intensity in pivotal moments might further accentuate her inner turmoil.

Mr. Tooley – Portrayed by Joey Smith

Joey Smith’s portrayal of Mr. Tooley was purposefully crafted to evoke disdain. With a sleazy and morally dubious edge, his performance effectively conveyed the essence of the detested American businessman. Although his accent was mostly effective, occasional slips suggested that further vocal refinement would be beneficial to fully realize the character’s intended impact.

Supporting Roles – Singing and Acting

Beryl – Mary O’Byrne. Mary’s portrayal of Beryl was a burst of energy. Bubbly and well-cast, she commanded the stage with a strong presence, perfectly embodying the trouble stirrer rather than the maker. Her delight in the role—especially through the use of deliberately foul language—brought a mischievous charm to the production.

Clare – Aisling Kelly. Aisling’s performance as Clare, though promising, did not fully hit the mark. The comedic timing needed further refinement, and while the role is notoriously difficult to perfect, her nice voice and contribution to the group of women were noted as strengths. Continued focus on timing and delivery in comedic scenes will benefit future portrayals.

Sandra – Alanna Keane. Alanna brought a cheeky and watchable quality to Sandra. With strong characterisation and confident movement, Sandra emerged as a memorable part of the group of women, adding a spirited counterbalance to the ensemble’s overall dynamic.

Cass – Lauren Kavanagh. Lauren’s portrayal of Cass provided a delightful touch of whimsy. Her character, delightfully delusional about her ambitions to be an airline pilot, added levity to the production while contributing to the ensemble’s varied texture.

Cortina Man – Rory Dignam. Rory delivered a performance as Cortina Man that was well sung and assured. His solid vocal delivery and stage presence contributed effectively to the ensemble’s narrative, reinforcing his role with confidence.

Mr. Buckton – Brian McCabe. Brian’s portrayal of Mr. Buckton was memorable for his great accent and strong scene work. Embodying the role of a dictatorial schoolmaster, his performance exuded a commanding presence that left a lasting impression on the audience.

Ron Macer & Gregory Hubble – Paul Curran and Pat Lalor The duo of Ron Macer and Gregory Hubble, formed a robust pairing against Monty. Their performances, marked by strong character work and a genuine “boys club” vibe, added depth and dynamic contrast to the overall ensemble.

Sid, Bill, Barry, and Stan – Kevin O’Leary, Paul Kiernan, Andrew White, and Paul Fogarty. This group of supporting roles brought an essential laddish energy to the production. Their camaraderie and robust stage presence provided a solid underpinning to the show’s more intense scenes, ensuring that even the lighter moments were delivered with verve.

Adams – Joey Conlon. Joey’s portrayal of Adams, the suitably sniveling aide to Mr. Tooley, rounded out the supporting cast. His performance, marked by a convincingly servile demeanor, effectively underscored the unsavory characteristics of his superior.

Chorus/Ensemble – Singing, Acting and Choreography

The chorus and ensemble provided the backbone of the production, delivering a performance that was vocally tight and energetically supportive of the lead roles. Their well-rehearsed harmonies created a solid musical foundation that resonated throughout the show. However, the physical aspect of the performance revealed mixed levels of confidence among ensemble members. While some performers moved with fluidity and assurance, others appeared hesitant when navigating the choreography.

Implementing regular movement workshops focused on spatial awareness, body control, and synchronized timing would help address these disparities. With increased rehearsal time dedicated to stage craft and physical coordination, the ensemble has the potential to become a more dynamic and cohesive component of future productions.

Stage Management & Set Design

The set design was thoughtfully executed, making clever use of the available space within the church. A 1960s-inspired colour palette added a nostalgic touch, and although the flat walls served as a simple backdrop, they effectively highlighted the performers. Enhanced scenic artistry—such as textured backdrops or more dynamic set pieces—could add further depth and visual interest in future productions.

Stage management was handled diligently, though scene changes occasionally felt sluggish. In particular, transitions—such as the move into the pub setting—were hampered by cumbersome furniture and limited cast involvement. Closer collaboration between the stage manager, lighting crew, and director, as well as involving the cast in scene transitions, would streamline the process and maintain the production’s momentum.

Technical – Light and Sound

The technical aspects of the production were generally solid. The lighting design provided balanced illumination and effectively highlighted key moments on stage. There remains room for improvement in programming out live moves and enhancing the front-of-house focus with additional lanterns to better isolate smaller scenes.

Sound-wise, the mix was mostly clear, and the chorus was well supported. However, challenges arose when soloists were occasionally overpowered by the band, and non-singing actors were inadvertently mic’ed. A tighter collaboration between the sound engineer and the Musical Director is essential to ensure that the soloists are clearly heard and that extraneous noises do not disrupt the flow of the performance.

Visual – Costumes, Hair and Make Up

The visual presentation aimed to capture the essence of 1960s England through an eclectic mix of costumes, makeup, and hairstyles. While the costumes were full of character, a unified design concept was sometimes lacking, leading to noticeable disparities in quality and colour palettes. Some attire leaned toward nostalgic interpretations of the era rather than authentic representations of Dagenham’s period.

Makeup was serviceable, though there was potential for greater expressiveness—particularly for the female cast during key segments where emphasis on the eyes could heighten emotional impact. Hair styling was a mixed success; while the varied styles attempted to reflect the era, some of the more ambitious “poof” styles did not fully achieve the desired effect. Greater consistency and consultation with period styling experts could further enhance the visual cohesion of future productions.

Adjudicators’ Suggestions/Comments – Overall Comments on the Production and Recommendations for Future Performances

Overall, Made in Dagenham was an engaging and heartfelt production that successfully brought a beloved story to life in a unique setting. The performance was marked by moments of brilliance—particularly in the vocal and emotional portrayals of key characters—and by the enthusiastic energy of the ensemble. The production team has shown a commendable willingness to experiment and push boundaries, which is essential for ongoing artistic growth.

The strengths of the production far outweigh its weaknesses. The cast delivered sincere, passionate performances, and the technical team provided a solid foundation that supported the overall narrative. However, there remain areas for improvement. Enhancing stage craft for less experienced performers, refining the balance between musical elements, and unifying the visual presentation will help elevate future productions.

Investing in targeted workshops—focusing on vocal training, movement, and stage management—will not only improve individual skills but also promote a more cohesive ensemble performance. A more thoughtful approach to scene transitions and clearer communication among technical departments can further streamline the production process, ensuring that each performance flows seamlessly.

In summary, while there are areas that warrant further development, Made in Dagenham stands as a strong and promising effort by the Kill Musical Society. The production laid a solid foundation upon which future shows can build, consistently elevating the standard of theatre for both the society and its dedicated audience. With continued dedication to excellence and a commitment to refining their craft, the society is well poised to deliver even more dynamic and memorable performances in the seasons to come.

Photos kindly provided by the society: