The Hired Man - 5th August 2011

I must start by saying " The Hired Man" is one of my favourite musicals. I can remember shivering in the long closed Astoria Theatre watching Howard Goodall play piano on the day it closed in 1985. A few years later I was at the Palace Theatre when the cast re-united for a charity performance.

I was therefore pleased to see it was to be revived at the Landor Theatre, Clapham. However, this excitement was tempered with apprehension that a poor production would destroy fond memories or perhaps I'd discover it didn't fulfil the expectations of a 21st century audience.

Fortunately, from the opening bars from the four piece orchestra and the evocative first scene unleashing wonderful voices I could relax, we were in safe hands.

The show tells the story of John and Emily Tallentire with all of life's ups and downs. But 'The Hired Man' is much more than that. It opens up the virtually unknown world of farm labourers at the turn of the century touting themselves for hire.

The premise may be historical but the problems are timeless. A man immerses himself in his work so his wife is tempted by the affections of another. A job market where the number of applicants far outweigh the vacancies allowing the bosses to exploit their workers, though unions promise much but deliver little. Families are destroyed as men are sent away to fight a war no-one understands. Sounds familiar? 'The Hired Man' shows that little changes.

When it opened in 1984 it survived only a few months despite good reviews, though a show about mines and unions was unlikely to prosper during the miners' strike. Nearly thirty years later on its opening Friday night the Landor Theatre was sparsely attended which is a shame as this show is as good as the previous productions I have seen. In many ways it is better, as this intimate space allows you to join the characters on their physical and emotional journeys.

The whole cast is outstanding but the three leads are exceptional. Joe Maxwell and Catherine Mort make their characters utterly believable and as well as possessing glorious voices you fully understand the reasons for their actions. Similarly, the charismatic Ian Daniels makes you care about Jackson Pennington who could easily become the villain of the piece.

Director Andrew Keates helps by adding little touches to keep the action real. Casting men who look as if they have worked on farms & in a pub wrestling scene the women instinctively grab the glasses to avoid breakages etc.

Melvyn Bragg's book was based on his grand-father experiences but everything is brought to life by Howard Goodall's music and lyrics. Written at the age of 26 his understanding of universal truths and human emotions is extraordinary.

My only regret is that this masterpiece is never likely to receive the commercial success it deserves. There is as much drama and a score to match 'Les Miserables' which has run ever since 1985. Oh well, you have until the end of the month to head to the Landor Theatre to prove you are a true theatrical officienado as well as having a great night.

Prove there is more to London than over-priced, over-amplified, soul-less jukebox-musicals. Go!