Earlier this semester University of Southampton English students taking an introductory module on the history of theatre and film had an opportunity to review Howard Brenton’s hugely popular play, The Shadow Factory, at Nuffield Southampton Theatres. Rebecca Golding reviews the show, praising both the professional and community company.
Brenton’s play, which returned to Nuffield Southampton Theatres this January due to popular demand, is a wonderful homage to the vital contribution Southampton’s spirited population made to the Second World War effort. Unearthing a fascinating piece of local history, the play is set in September 1940 and the Battle of Britain is raging. The Luftwaffe has destroyed the Supermarine spitfire factory in Woolston and relocation is an urgent necessity. Therefore, Churchill’s government charge factory owner Len Gooch and Minister of Aircraft Production, Lord Beaverbrook, to requisition thirty-five local properties, to ensure production continues.
Does this subject matter sound dry to you? The performance was certainly far from it. The professional cast were a delight to watch, especially David Birrell as the stoutly resistant laundry owner, Fred Dimmock and Michael Fenton Stevens as the steely and ruthless Lord Beaverbrook. Denise Black doubles as the generous Lady Cooper and the outspoken Ma Dimmock, who is responsible for many refreshing moments of comedy.
In addition, the chorus certainly deserve commendation. The roles they undertake range from factory workers to Women’s Auxiliary Air Force members and civilians who spend their nights on the common watching for enemy planes. They crucially convey to the audience the breadth of ways in which the people of Southampton contributed to the war. Their expertly choreographed choric songs are highly informative and filled with energy – a real joy.
Whilst this play is undoubtedly a paean to the courage and resilience of Southampton’s wartime population, Brenton successfully prevents the production from becoming overly saccharine. Moments of light-heartedness are balanced out by trials and tribulations, encapsulating the idea of a vibrant city inhabited by locals torn between retaining their freedom and bowing to an authoritarian government.
It is undeniable that the design team utilised the space in the 450-seat theatre excellently. Projections onto the stage depict not only locations, but also give other valuable fragments of information ranging from dates to spitfire wing design blueprints. Tubular lighting bars descend from the ceiling to create a real spectacle; the audience were all in raptures when they mimicked a spitfire in flight.
My only real gripe with the play is Brenton’s writing of the character Polly. In contrast to the feisty and headstrong Jackie, her friend Polly Stride lacks dimension and depth. Polly’s most defining characteristic is her position as the only woman on the spitfire design team, a point which is tenuously honed by other characters’ repetitive remarks. Whilst I appreciated that Brenton touched upon the changing position of women during this time period, his treatment is somewhat heavy-handed and tedious.
Overall, The Shadow Factory is an energetic, dynamic and vibrant depiction of the remarkable achievements of this city during the Battle of Britain – a soaring success and a real must-see.
The Shadow Factory runs until the 2nd of March at NST City. Book tickets here with student tickets starting at £10!
