The Hired Man – Landor Theatre, London
Music and Lyrics: Howard Goodall
Book: Melvyn Bragg
Director: Andrew Keates
Reviewer: Ian Foster
The Public Reviews Rating: 
The Hired Man was Howard Goodall’s first musical, setting Melvyn Bragg’s story of turn-of-the-century everyday rural Cumbrian life to a score inspired by Kurt Weill but primarily influenced by English choral and folk music. Based on events that happened to Bragg’s grandfather, the plot revolves around farmhand John Tallentine, his wife Emily and their family during a period of considerable social and economic upheaval as agriculture declines, pit mining advances and the shadow of the First World War threatens everything and everyone.
Though the scope of the story is huge, taking in a significant chunk of British social history, it is actually intimately told by focusing in on this single family and how the larger events impact their daily lives. In this respect, Andrew Keates’ production at the Landor is a great match of venue and material as we are taken right into the heart of this story and the struggles of its tightly-knit society to find just a little daily happiness as they work the land whether through a pie and a pint in the local or breaking marriage vows.
Niall Bailey’s band of piano and strings is perfectly suited to the graceful swells of Goodall’s score and the decision not to stint on the ensemble pays great dividends as the rich sound created by the 17 cast members is just gorgeous to listen to as melody lines harmonise and counterpoint each other. There’s a real elegance to Goodall’s compositions which is matched by consistently strapping performances across the main roles: Joe Maxwell’s strong-voiced, dependable John, Martin Neely and Sean-Paul Jenkinson as his brothers and Ian Daniels’ seductive Jackson. There’s a surfeit of beards and tweed in the predominantly male company and pleasingly so, it brings a real earthy tone to the show that should confound musical naysayers but also lends an authenticity to the emotion of the piece.
The vast scope of the backgrounding context does mean that some story points are dealt with rather cursorily as we sweep through time, equally this means that a healthy pace is maintained. And in Freya Groves’ open design which maximises the playing space yet still atmospherically and gloomily lit by Howard Hudson, this powerful, moving, intimately epic story brings history to vivacious, personal life and proves itself a truly great, British musical.
Runs until 27th August
Tags: Abigail Matthews, Ben McMath, Catherine Mort, Garry Mannion, Howard Goodall, Ian Daniels, Jamie Birkitt, Joe Maxwell, Landor Theatre, London, Mark Fredrick, Martin Neely, Matthew Gent, Matthew Mcloughlin, Melvyn Bragg, Ruri James, Sean-Paul Jenkinson, The Hired Man
4:57 pm on August 5th, 2011
I went to the first preview of The Hired Man, never having seen the show before. I thought it was a wonderful performance of a beautiful work. As a New Yorker who doesn’t get to pub theater alot, I was particularly amazed at how perfectly the creative team fitted the show to the Landor’s space. The performances were exemplary, well sung and quite moving.
For me, the show itself works best in Act I, when the story is the more intimate one of the people and their personal problems and joys. Act II, though impressively staged, deals with the larger issues of unionization, World War I, and mine cave-ins. As a result, the scope becomes a bit out of synch with the deeply moving first act.
But still it was a great evening. The director (I think it was he) was sitting in front of me at the first preview, taking notes. But I don’t think he could have bettered the work he and his team had already done so well.
5:41 pm on August 6th, 2011
Brilliant review. I thoroughly enjoyed it; have been thinking about it since, and a pretty memorable score too. My review here: http://bit.ly/ofCP1Y
5:49 pm on August 7th, 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!