Review: Empowering Rugby musical features quality cast, top-notch band and clever choreography

Thirty years... I’ll come back to that.

But let’s start with a celebration of the remarkable revival of a group that just a few short years ago looked down and out.

Without a permanent home and with other options available for the town’s talent, the treasured name of Rugby Operatic Society looked destined to disappear.

But then, two years ago, something magical happened at St Andrew’s Church.

An almost back-to-basics production of Godspell by a company small in number but with great spirit, showed there was something worth fighting for.

Renamed as Roams to convey a fresh vision and with the discovery of a major new directing talent in Hayley Smith, it was clear their shows just had to go on.

Rather than roaming around, they found Lawrence Sheriff School for last year’s Spamalot and were back there this year with a huge cast, support team - and audience numbers that must have seemed quite unlikely when they were heading towards opening night for Godspell.

So whatever these latest audiences knew of Made in Dagenham – be it the film or other productions of the musical that followed in its wake – Roams is winning hearts with a distinct identity for shows, that combines great ability with obvious pleasure in the execution.

This telling of the very real story of women machinists at the Ford plant in Dagenham in 1968, was a perfect opportunity to express both those qualities. This was working class heroes taking on bosses, specifically women taking on the patriarchy and a cocksure American – with their refusal to back down leading to the Equal Pay Act of 1970.

The Hayley Smith sparkle that illuminated Godspell was alive and well here, with an ever-stronger team on and off stage - the many new faces no doubt hearing that something special has been happening.

So Karen Edge was compelling as ringleader Rita O’Grady, the humble rebel torn between family duty and a fight for injustice; Jen Braunston brought conviction and passion as Connie Riley, the union rep who has dedicated her life to fighting for change – and Craig Lawrence conveyed the awkwardness of being Monty the union man who supports the women, while not wanting to rock the boat too much.

On the other side of the fence were Elizabeth Armstrong, a forthright Barbara Castle MP with a fine singing voice; Trevor McClay as bumbling Prime Minister Harold Wilson - and group chair Stuart Esworthy bringing the American way (and night-club comic in a second, minor role) to life.

There were many other special moments with clear depth of quality in the cast, supported by a live band that were top-notch without any need to dominate - and choreography that made the most of a clever set.

But back to that initial mention of 30 years.

To some, Made in Dagenham is an important period piece.

Remarkably, in the week before opening night a TUC report said it will take 30 years to close the gender pay gap at current rate of progress – and a political party spoke of scrapping the Equality Act, which embraces the Equal Pay Act.

So, yes, this remains a piece of its time – but still highly relevant today. And so wonderfully expressed.