Picture: Mihaela Bodlovic
Stand & Deliver: The Lee Jeans Sit-In was reviewed at the Traverse Theatre, Edinburgh. The production is touring until 10 June 2026.
Star rating: four stars ★ ★ ★ ★ ✩
The story of the occupation of the Lee Jeans factory in Greenock is uplifting and unexpectedly moving. Frances Poet’s script is fast-flowing and punctuated by contemporary songs from 1980 and does an excellent job of telling the story of this famous sit-in from the inside.
Based on the true stories of the predominantly female workforce, this is a testament to the human spirit and what can be achieved when a group of people come together ‘as family’ in the worst of circumstances.
When it is announced in January 1980 that the factory will close at the end of April, the women unite behind the shop steward Helen (Jo Freer) and begin the occupation of the factory. The challenges are many – from having a working telephone, to using the (locked) kitchen, to managing the shifts, to dealing with the media, politicians and the American owners. And fighting against boredom, poverty and the sheer amount of commitment needed, day in, day out, not just for days or weeks but for seven months.
Freer’s characterisation of Helen develops tremendously well through the story. An inspiring and thoughtful performance with a great deal of sensitivity, easily winning over the audience as she often directly talks out front, describing her effort in great detail.
One of the biggest challenges comes from Maggie (Chiara Sparkes), one of the weaker workers who is suddenly galvanised by the act of rebellion to save a place she actually detested. Sparkes is engaging and cheeky, knowing just where to cool her light down so that she shines brightly when it counts most.
The ensemble cast is extraordinary – multi-instrumentalists who can all sing and harmonise brilliantly. Shonagh Murray is a performing musical director with great versatility, leading the onstage band composed of the other cast members.
As the lone male in the cast, Aron Dochard delivers a truly rounded characterisation for each of the four roles he plays. Showcasing a range of spot-on accents, his primary role as Fin, Helen’s son is beautiful. A talent to watch out for.
Madeline Grieve excels as a musician and vocalist and her nuggets of characters colour in many stories of folk in and around the factory. A finely tuned performance landing every point and line with a confident assurance. Hannah Jarrett-Scott is a feisty, witty Kathy with a lovely, kindly cameo as Helen’s husband at the beginning of Act II. Her versatility is celebrated here, right down to a trumpet on top! A marvel.
Alongside all of these talented performers are two wonderful BSL interpreters: Catherine King and Yvonne Strain. Their signing is fully integrated into the action and brings an unusual resonance to the text. The power of words is more apparent with upstage gesturing, full of expression from these skilfully integrated performances.
Jemima Levick continues to impress as a director: her realisation of these stories and service to Poet’s text in this National Theatre of Scotland and Tron Theatre Company production are exquisitely balanced. The handling of the changes from musical numbers to the action is just right and the pathos that creeps in towards the end of the show is sensitively handled before being returned to a feeling of celebratory triumph.
Congratulations all – a fully deserved full house and standing ovation.
Fiona Orr
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