Brassed Off - Melville Theatre Company

Reviewed by Paul Treasure

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Producing plays that are based on films comes with its own list of challenges, not least of which is that films are by their very nature cinematic! They have a lot of short scenes set in a large number of very different locations, which can be very difficult to even attempt to replicate onstage. Vanessa Jensen and her team have grabbed this bull by its horns and conquered it in style. Upon entering the auditorium, we see the stage dominated by a very convincing pit head and wheel set upstage right, behind which is a backdrop of drapes, bunched in various places and expertly lit by Lars Jensen. These drapes give the impression of smoke or cloud, conveying the griminess of a coal town. The majority of the action takes place in front of this tableau, with very little extra set except the odd table or chairs. Firmly placing in our minds that this is a coal town, and it is a play about a coal town. The band scenes, rehearsals and performances are set on the floor in front of the stage. A very clever idea, as the floorboards give the space the feel of a town hall, which is, of course, exactly what the main Hall at the Melville Civic Centre is.

The play is set in Yorkshire, an area with a very distinct accent that can be very difficult to pull off. On the whole, the cast managed this aplomb. This show was absolutely stolen by the quartet of Harry, Rita, Jim, and Vera, played by Nigel Goodwin, Susan Lynch, Peter Neaves and Suzannah Churchman, respectively. Whenever two or more of these actors were onstage together, they lifted the entire show. Their relationships came across as incredibly real, just like people who have grown up, lived, and worked together for years. The four of them bounced off each other seamlessly, whether they were doing it for comic relief or the moments of very real pathos. As band leader Danny, David Cotgreave was commanding, and his speech towards the end of the play was simultaneously heartbreaking and inspiring. Jamie Lee, as the hapless Phil, gave a moving portrayal of someone who is literally falling apart in front of his very eyes, while Louise Fishwick hit the desperation and frustration of her character, Sandra, with agonising precision. Christopher Steicke, as Andy, gave us a joyous interpretation that helped lift what could have easily been a dour and depressing play.

As the interloper from out of town, Michelle Ezzy managed to nail the small differences that stood her apart. With her accent not quite as accurate as the other actors', she actually managed to hit perfectly the difficult task of deliberately getting it not quite right. It was an extremely convincing interpretation of someone who is losing an accent from being removed from it for so long. This accent difference helped in her portrayal of an outsider trying to get back in. The most poignant moment of the entire show belongs to Ezzy, as her character, Gloria, plays the solo from Rodrigo’s Concierto de Aranjuez on the flugelhorn. I do not know if Ezzy actually has any brass experience, but her miming was impeccable, perfectly timed, and with a quiet, still intensity that emanated from her entire body. The temptation would be great to just stand there and wiggle your fingers, but with Ezzy’s every micro-gesture, we felt Gloria’s love of the music and of the instrument she was playing. This is the point to single out band member Erica Wileman on the cornet, whose beautifully yearning and soulful rendition of the Rodrigo brought tears to the eyes.

Mark Schaap, as Shane, is called on to do double duty. As the adult narrator looking back on his childhood, he was very clear and set the mood perfectly. As the younger version of himself, he managed to portray boyish enthusiasm beautifully, even managing to make us forget that this utterly believable young boy was being played by the tallest person onstage. At the start of the second act, his character gets a beautiful moment where he picks up the conductor's baton and discovers the magic that it makes the band play. Schaap handles this divertissement hilariously, using his physical comedy skills to sell the moment to perfection.

Any production of Brassed Off will ultimately succeed or fail on the strength of its band. Unlike a musical where the band are in the background supporting the singers, in this show, they are the heart and soul of the piece. When they play, we are actively listening to them. The Challenge band were, quite frankly, amazing! Under director Blake Segler, they gave a performance that was full of heart. Placed in front of and to the side of the stage, they could easily have overpowered everything, but they managed to hit the perfect balance where we were given the full brass band experience, but we were still able to hear most of the dialogue going on over them.

Half play, half concert, and all delight. Vanessa Jensen and Melville Theatre Company have taken this play, full of technical challenges, and triumphed with it.

Reviewer Note: Tickets for this review were provided by the theatre company.