More gold than brass - this play is a real gem

9:36am Thursday 17th April 2008

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THIS production triumphantly gave the lie to the old theatrical adage about never acting with children (or animals).

The five children in Brassed Off' were a vital element in this story of miners' families at the grim time of pit closures and redundancies, but their degree of focus and concentration was both totally real and very touching.

The eldest boy, largely responsible for much of the narration of the play, was played alternately by James Kelly and Eddy Howell - depending on which evening one attended. On Saturday it was James, giving a technically assured and hugely engaging performance.

It was good to see Studio Theatre making use of a different configuration of seating, to provide all the space required for band marching and performance, and creating acting areas which allowed the production to flow quickly from scene to scene against the beautifully painted but starkly towering images of the pit-head winding gear.

The play was perfectly cast, showing the Studio actors at their best portraying the wide variety of characters in this close-knit community. Sue Bale and Jenni Watson were an indomitable pair of miners' wives with Sara Taylor excellent as the wife who reached breaking point, graphically illustrating the human pathos behind the headlines.

Tim Greathead, Peter Kelly, and Chris Thomas played their husbands, providing some wonderful comic moments of optimism mixed with frustration and anger. Zoe Cavendish and Stewart Taylor developed a touching new relationship, which was heightened by their disillusion with management' as the pit closure plan took its inevitable course.

But the play is centred on the effect that the Colliery Band has on the lives of the individuals and the community as a whole, and here Studio Theatre was brilliantly served by Roland Wright and the Downton Band. They not only provided the crucial musical element of the story but also became an essential part of the town's population.

David Taylor was outstanding in his role as the bandmaster, from his bravura marching swagger to his final immensely moving speech, he created an unforgettable character.

Lesley Bates must be congratulated for achieving a memorable production - skilfully blending comedy and pathos, and a mix of intimate and gloriously uplifting large-scale scenes.

- Sonia Woolley