BRASSED OFF

by Paul Allen

directed by Paddy Walsh

Blackburn Drama Club

 

Based on a true story, ‘Brassed Off’ is a funny and life-affirming tale of community spirit and triumph in the face of adversity.

 

It’s 1992; and Danny’s lifelong ambition to lead Grimley Colliery Band to the National Brass Band Competition at the Royal Albert Hall looks like it might finally happen. But since Grimley pit faces closure, the future looks bleak as the town is thrown into conflict.

 

Flugelhorn player Gloria arrives in town, bringing with her a renewed sense of hope and a touch of romance, but no-one knows who she’s really playing for.

 

Adapted from the 1996 film starring Ewan McGregor, ‘Brassed Off’ features the best in brass bands from the Blackburn and Darwen area, playing music including: The Floral Dance, William Tell Overture, Death and Glory, Danny Boy, Land of Hope and Glory, and Rodrigo’s Concierto de Aranjuez.

 

The play for me was a double delight: I enjoyed the film, and I love brass band music.  To have the two in the same production was wonderful.

 

I had not heard the Blackburn and Darwen Brass Band before, but I certainly won’t mind seeing and hearing them again. We had superb playing of the music and it was absolutely right for the play. They gave extra life to this play which might have descended into a kitchen sink drama had it not been for a superb cast and a superb storyline, and a polemic against the pit closure programme instigated by the government of the day in the 1990s.  Against the background of current political events, its prescient storyline is as up to date now as it was in the 1990s.

 

‘Brassed Off’ means the director has to have the ability, not only to guide his performers, but also to choreograph all the stage movement necessary to keep the flow of narrative alive.  Paddy Walsh provided all these skills and, with his cast, kept the play moving at a cracking pace, and provided a superb theatrical evening.  To achieve this, a first-class backstage crew is also needed and this we had for the present production under the stage management team, led by Graham Haworth.

 

Essentially, “Brassed Off” is an ensemble piece under the baton of Danny played by Roy Washington. Roy is a very experienced performer, and he it was who was the lynchpin for the unfolding storyline. Roy gave a superb portrayal of a man, diagnosed with coal-dust emphysema, with little hope of survival. The story revolves around him, with sub-plots of the group of miners fighting for their job survival, and Danny’s son, Phil, played by Matt Brooks. The fact is that Phil is badly in debt, and, to help earn some money, becomes a clown for children's parties.  However, he and his family are so much in debt that, when the bailiffs come to call, his wife, Sandra, played by Neely Jillings, and children walked out on him. Matt and Neely were a very believable couple: Neely was weighed down by the burden of household debt, four children, one a babe in arms, and a feckless husband who would spend every penny on band membership fees.  His badly damaged trombone needed replacing, but with no money, how was this to happen? More debt! This proved to be the last straw for Sandra, who took the children and left the family home. We had very great sympathy for her. This was a fine performance. It was also a very fine performance from Matt who was guilt-ridden at having accepted redundancy, and eventually tried to commit suicide by hanging himself from the pit head derrick whilst dressed in his clown costume. This proved to be a very poignant moment and very well portrayed.  The children were delightful: Amaan Hafiz played Shane, Craig was played by Ciaran Glass, making his debut on stage and Melody, played by Darcy Tayler making her second appearance with the society.

 

Though none of the men will openly admit to accepting the redundancy package, one of them points out: "Nobody ever says they voted Tory either, but somehow the buggers keep getting in."

 

There is a lot of humour in this play, dark but still funny and resonating with the unfolding events.  The group of miners played by Steven Derbyshire, on the euphonium, as he insisted on telling everyone who called it something else, Harry, portrayed by Martin Cottam, on bass, and Ryan Coe, as Andy, also on bass.

 

Supported by their wives, the ladies were very spirited whilst on the picket line.  Vera, (Suzanne Nolan), Rita, (Kate Roberts) were so very true to life.  These were excellent supporting roles and very well played.

 

The two central characters to the main storyline were Gloria, portrayed by Louise Harkness, who gave us a very fine performance of Concierto de Aranjuez on the flugelhorn, played not mimed.  This was a sympathetically portrayed characterisation by Louise, who was making her debut with the Drama Club and. I understand it was also her debut as an actress.  Very many congratulations on a lovely performance.

 

The love interest provided by Andy, played by Ryan Coe, was extremely well portrayed; by turns, warm, tender, funny and sympathetic, Ryan created a very believable character.  We really wanted him and Gloria to come together by the end.

 

Brassed Off, whilst set in the 90s, is revealed by the memory of Shane, some time in the future.  Shane is Danny’s grandson.  This was an outstanding debut performance from a young  Amaan Hafiz.  His is a promising talent and will, I am sure, be nurtured by the company.  Amaan has that natural stage presence that can be so elusive with young inexperienced performers.  It was so beautifully controlled, whether he was playing the oldest son of Phil, or portraying his granddad.  I defy anyone not to have been moved at the end of the play when he donned his grandfather’s jacket to conduct the band, then turn to the audience with outstretched arms saying, “Catch me granddad”.

 

The scene changes were swiftly executed with no waiting for the following narrative to begin. The supporting roles playing various parts, including the nurses, Shirley Watson, Olivia Roberts, and the bailiffs, Graham Haworth and Rob Speakman were skilfully observed.

 

The settings were admirably designed, and the sound and lighting were well controlled by Kriss Connell and Ryan Clegg.  Never once were we overwhelmed by the brass band playing.

 

Very many congratulations to Paddy Walsh and Blackburn Drama Club on a superb presentation.  Thank you for your very warm hospitality.  I am looking forward to seeing your next production in April of Charlotte Keatley’s My Mother Said I Never Should.