Anna Burnside reviews ‘a powerful piece of popular theatre that tells an important Scottish story with charm and humour’.
Back in 1981, 140 women barricaded themselves into the Lee Jeans factory in Greenock to prevent their American owners moving the industrial sewing machines to Northern Ireland and putting them all out of a job.
Forty-five years on, writer Frances Poet mixes the past and present as the key players relive the wild ride of spending seven months living in a factory to show the town, the male-dominated trades union movement and their tax break-grabbing overlords that they were not having it.
At first this format feels clunky with some awkward fourth wall breaking. But it soon warms up and delivers some real poignancy at the end.
The other stylistic device - a live soundtrack of period bangers - is more effective. Each one makes a point that broadens out the themes of the show. After a bouncing opening version of Kim Wilde’s “Kids in America”, shop steward Helen makes the very valid point that they are nothing of the sort.
As the strike gains momentum and Helen, then chaotic firebrand Maggie, step in front of cameras and crowds, Duran Duran’s “Girls on Film” evokes the powerful mass media of the days before TikTok. It also nods to the innocence of the young lassies such as Maggie, just 19 in 1981, suddenly shown a world of opportunities way beyond Inverclyde.
Adam and the Ants’ “Stand and Deliver” was not composed as a workers’ anthem, but its themes of fashion, individualism and highway robbery work brilliantly in a play about a bunch of ballsy dames taking on an international denim magnate.
The six-strong ensemble cast do a tremendous job. On stage as in life Jo Freer, as reluctant class warrior Helen, leads from the front. She is pitch perfect as the quality supervisor tormented by the responsibility of the role she has found herself in.
Her scene with the head of the garment workers’ union in London - brilliantly portrayed by a languidly patronising Aron Dochard, who plays most of the blokes - is worth the ticket price alone.
Chiara Sparkes is a delightful Maggie, leading the singing, tormenting her sister, escaping onto the roof of the factory for a sneaky fag. Hannah Jarrett-Scott is a believable sensible big sister, desperately trying to explain why writing the rota is as important as addressing the SNP conference.
The set nails the sticky brown aesthetic of the early 1980s, and beige phones, overhead projectors and ghetto blasters are perfect props. The universally unflattering clothing of the era is present and correct.
Jemima Levick’s direction is subtle and brings out the nuance in Poet’s script. Apart from a baggy ending, this is a powerful piece of popular theatre that tells an important Scottish story with charm and humour.
Seeing it on the opening night, with the real Helen and Maggie in the audience, made it even more special. The closing night of the tour, in Greenock, will have as many of the 140 strikers as can be rounded up in the audience.
The Beacon had better reinforce the roof.
Stand & Deliver: The Lee Jeans Sit-In tours Scottish venues until June 10, 2026. For further details, go to the production’s website.
Photos by Mihaela Bodlovic.
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