As NSTA representatives, we had the distinct pleasure of seeing the Clevedon School production of Made in Dagenham on Tuesday 9th and Wednesday 10th December 2025. Under the inspired direction of Deborah Morgan and Oliver Davis, with Musical Direction by Polly Cleave and Vocal Direction by Katy Read, this production was a spirited celebration of courage, community and determination. Choreography by Lydia Gordon, Kellie Mockford and Liv Doig brought vibrancy and precision to the stage, ensuring that every movement reflected the energy and solidarity at the heart of the story.
Made in Dagenham tells the true story of the 1968 Ford sewing machinists’ strike, setting its narrative against the backdrop of a working-class factory town on the cusp of social change. Rita O’Grady, an ordinary woman with no prior experience of activism, is unexpectedly thrust into a leadership role when female workers discover they are being paid significantly less than their male counterparts. What begins as a local dispute quickly grows into a national movement, as Rita and her fellow machinists challenge institutional sexism, confront political resistance, and demand equal pay for equal work.
From the moment the audience entered, the Clevedon School production established an atmosphere of authenticity and energy. The thrust staging created an immersive experience, drawing viewers into the heart of the Ford factory and the lives of the women who fought for equality. Multiple entrances into the performance space added to this sense of immersion, with characters appearing from different directions to keep the action dynamic and engaging. Seamless transitions and an adaptable set design allowed the story to move fluidly between home, factory and political offices, supporting the narrative with clarity and purpose. The introduction to the O’Grady family in “Busy Woman” burst with energy, immediately grounding the audience in Dagenham through sharp accent work, crisp choreography and confident staging.
The school was able to double cast the show due to the array of talented pupils participating. In Tuesday’s performance, Millie delivered a performance as Rita full of conviction and warmth, portraying the character’s journey from everyday working mother to determined leader with nuance and sincerity. It was a performance of assurance and emotional maturity well beyond her years. Jude, as Eddie, brought depth and emotional honesty to his role, balancing humour with heartfelt vulnerability. His solo in “The Letter” was particularly moving, his restrained emotion and sense of internal struggle creating a moment of genuine poignancy. Together, Millie and Jude formed a compelling partnership, and their connection was evident throughout.
In Wednesday’s performance, Amy delivered a captivating and heartfelt Rita, complete with a remarkably authentic East London accent. Her delivery of “We Nearly Had It All” and “Stand Up” was both beautifully sung and genuinely moving. Giovanni, as Eddie, matched her with vibrant energy, emotion and warmth, and an equally convincing Dagenham dialect. His solo in “The Letter” was a standout, with impressive vocals that conveyed Eddie’s despair, supported beautifully by Rita’s reactions. Both performers handled their physicality and mannerisms with skill, embodying characters older than themselves with striking maturity and ease, and powerfully conveying frustration and sorrow throughout. Together Giovanni and Amy delivered a tender and beautifully realised rendition of “I’m Sorry I Love You”. Their vocals, chemistry and movement made this duet a standout moment.
Among the supporting cast, performances were equally strong. From Tuesday’s supporting cast, Alex’s portrayal of Barbara was consistently assured, marked by strong comedic moments and clear, well-judged reactions throughout. Ruby’s performance as Connie was deeply impressive, capturing the character’s sudden and devastating downward spiral with emotional clarity and conviction. Ellie as Clare provided lightness and humour, while Esther’s portrayal of Sandra was engaging throughout, capturing confidence and flair. Lucy brought sharp comedic timing to Beryl, lifting ensemble scenes with wit and personality. Mia, as Lisa Hopkins, added sophistication and poise, offering a nuanced portrayal that highlighted the contrasting worlds of management and the factory floor.
Within Wednesday’s cast, Beryl was played with a strong sense of playfulness by Charlotte, adding comedy and innuendo to each of her scenes, and excelling particularly during her delivery in “This Is What We Want”. Lizzie, as the confident and outspoken Cass, performed with both vocal assurance and spirit as she rallied the group. Xanthe, as the ditzy Clare, provided lightness and humour during her moments in the spotlight such as her rendition of “Wossname” as well as in smaller details of her performance. Emily’s portrayal of Sandra was sweet and engaging, capturing the character’s sense of glamour. Zee’s performance as Connie was delicate yet deeply compelling, and her rendition of “Connie’s Song” was stunning, with rich vocals that conveyed Connie’s frustration with genuine flair. Becky exuded delicacy, elegance and warm approachability as Lisa Hopkins, creating a fully believable ally for Rita. Evie’s portrayal of Barbara was spot on, and in “In an Ideal World” she paired warm, confident vocals with a grounded sincerity that made Barbara’s hopes feel profoundly real. It was a mature and moving performance that lingered well after the final note. Max was suitably larger than life and pompous as the Prime Minister Harold Wilson, comically out of touch with real working people. This was carefully conveyed through his confident swagger and exaggeration in every movement, and a delight every time he was onstage. Sam played Tooley with authentic bravado, and his nastier moments were delivered with an oily, sleazy confidence, making him a believable villain of the piece.
Within the supporting cast performing their roles on both nights, Oliver gave Monty a steady and reassuring presence, guiding the workers with authority and charm. Bill, played by Isaac, and Sid, played by Ned, conveyed excellent camaraderie between their characters, portraying an atmosphere of locker room sexism and banter authentic to the script. This contrasted with Eddie’s portrayal of the stiff, procedural Mr Hopkins to great effect.
The ensemble was a driving force behind the success of this production. In big musical numbers such as “Made in Dagenham”, “This Is What We Want” and “Everybody Out”, their energy and precision created a sense of unity and purpose that reflected the spirit of the strike. The boys’ ensemble moments were exceptionally well executed, full of clear reactions and camaraderie, making them a joy to watch. “Payday” was vibrant and full of character detail, while “Stand Up” brought the entire cast together in a powerful display of solidarity. Each performer remained fully in character, ensuring the stage was alive with credible action and detail. The choreography, created by students Louis, Rosalie and Macey, was inventive and well integrated, giving these ensemble moments a sense of cohesion and momentum. The wide age range represented within the ensemble illustrated strong participation in the performing arts at Clevedon School.
One of the most remarkable elements of this production was the ten-piece pit band silhouetted behind the action, made up entirely of Clevedon pupils. Joie, Esme, Toby, Louisa, Hector, Jeremy, Seb, Rian, Jamie and Sam deserve huge praise for their musicianship and professionalism. Listening to them, you would never have guessed these performers were pupils; the show leapt to life from the very first notes of the overture. Beyond their spirited performances in the musical numbers, the band provided subtle and atmospheric underscoring throughout, adding depth and colour to key scenes. For instance, they provided a gentle snare and brass jazz instrumental to set the restaurant scene beautifully before the scenery transition had even finished.
Act Two opened with a dramatic injection of smoke and the striking reveal of the motor vehicle, a bold visual that set the tone for the second half. Tooley burst onto the stage leading “This Is America”, supported by backing singers draped in American flags and bouncing cheerleaders who executed an impressive basket toss amongst other delights. This number had all the bolster, flair and arrogance required. The transition into the hospital was chilling, and the exchange between Rita and Eddie in this moment was powerful, underscoring the emotional stakes of the story. Further visual delight came in the Eastbourne scene, where rubber rings and beach balls were launched into the audience, adding to the sense of playful chaos. A wonderful comic touch was the entrance and exit of the Oliver Cromwell statue. This was genius staging that demonstrated how even the smallest details were meticulously considered.
As the show powered toward its conclusion, the choice to scatter cast members on benches across the thrust stage cleverly drew the audience into the TUC assembly, blurring the line between observer and participant as Rita began her speech leading into “Stand Up”. The opening of this song was beautifully delivered with real emotion by both Amy and Millie, and as the song swelled into a full ensemble chorus, the audience was swept up in its triumphant energy. The final number was electric, filling the space with energy and leaving the audience with a sense of triumph and celebration.
This production was a resounding celebration of teamwork, resilience and student excellence. With bold direction, committed performances and truly outstanding musicianship, Clevedon School delivered a show brimming with heart, humour and purpose. It was a privilege to witness such talented young people bring this important story to life and the entire company should feel immensely proud of what they achieved onstage.
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