THEATRE REVIEW: Raising Agents - The Holbeck, Leeds

This is probably the most low-tech production I have seen in years – and it packed an absolute punch!  The entertainment began the moment we entered the room. We were greeted by the 4 cast members who were selling programmes and raffle tickets. There were two male and two female actors, all dressed as women. There was no pantomime or fanfare to the men’s cross-dressing. No explanation was needed or given; they were clearly at ease in their roles and chatted with the audience animatedly and with genuine interest in us and our reasons for attending.

The performance began with the same relaxed enthusiasm, as three of the Bunnington WI attend their monthly meeting, to discover that they are invited to take part in the centenary passing of the baton – a seemingly impossible feat given their dwindling numbers.  The speaker for the evening offers to swell their ranks and begins to drag their little group into the 21st century, using her mobile phone and social media to organise the group’s contribution. As the modernists come toe-to-toe with the traditionalists, the group's fortunes unfold in front of us. The tale is interspersed with delightful songs which showcased the company’s musical talents as they play (guitar, piccolo, flute, clarinet, saxophone, accordion, and trombone) and sing acoustic arrangements written by O’Hooley and Tidow (who are now widely recognised for their contribution to Gentleman Jack). The music is arranged by Rebekah Hughes – I wonder if she arranges to suit the instruments the cast play or if the cast is found to suit the instruments? - either way, it was seamless, as they slipped from vocals to trombone to flute. As with the best musicals, the songs served to enhance the drama and my MD companion was thoroughly delighted by the musical argument that took place toward the end of Act 1.

The evening was eventually to take us through the entire 100-year history of the Women's Institute.  Now, I’m not a member of the WI but, I live in a town with a strong WI membership (and I have seen Calendar Girls!), yet I came away with a richer knowledge of and greater appreciation for the Institute.  The script is packed with references to the WI’s achievements in social history (free school milk, child benefit, billeting evacuees, the list is long!). Referring to them as “wolves in twinsets, camouflaged in convention”, writer Maeve Larkin is clearly in awe of the women and work of the WI – and maybe we all should be!

At some point in the performance, I realised I had not stopped smiling. The four cast members were so joyful in their delivery, it was infectious. James McLean is clearly a stalwart member of the Mikron family, he and Thomas Cortan are both returning performers. As I have already mentioned they took their parts as females very much in their stride and provided the perfect middle-aged foil to Hannah Bainbridge and Alice McKenna’s more youthful personas. There was a nice range of voices here and they blended well for dialogue and for singing.

If you’re touring dozens of small venues by barge or van your staging must be simple, and this was a very basic trifold wall with a hatch. It served its purpose adequately, but I was put off on two counts: first, I was put out by the placement of the photocopied crochet – I couldn’t help but feel that any WI crafter worth her salt would have given a word of advice on that score; and second, I found the lilac colour insipid and not at all in keeping with the strong costume colours of the WI members. I suspect this was an attempt to give the hall a dated unloved feel, but it jarred somehow.  These were both minor niggles in the scheme of things. What I did enjoy was the use of extra costume elements that allowed these four actors to depict farm workers, gentlewomen, teenagers, single-mums, politicians, and myriad others. How they kept track of their pipes, bonnets and collars was beyond me – a triumph for director Rachel Gee!

Mikron Theatre Company is celebrating it’s 50th anniversary this year. How does a little company keep going for that long? I didn’t get a chance to ask them, but my guess is – it’s because they know what they do, they do it well and they don’t try to be what they’re not. Ostensibly, Mikron’s USP is the touring on a canal-barge thing. After all, I don’t know of any others that do this – but what I took home from this performance, is that if you put 4 talented performers on stage with their instruments and a strong script, you can make magic.

Reviewer - Justine Sutcliffe
on - 16.4.22