The Hired Man – Cadogan Hall

The Hired Man at the Cadogan Hall, London.

Star rating: three stars ★ ★ ★ ✩ ✩

The Hired Man, the 1984 love-child of Howard Goodall and Melvyn Bragg, is based on the latter’s 1969 novel, a semi-biographical account of his grandfather Harry Bragg’s life – one of millions of men caught between the poverty-stricken countryside they loved and the coal mines of Cumbria.

We found ourselves immersed in a world rich in natural beauty, despite the destitution of its residents. The usually flawless white walls of Cadogan Hall’s auditorium became a canopy of trees, windmills and cottages, thanks to Barret Hodgson’s impeccably-designed projections.

These backdrops not only fitted the space perfectly, they seemed to change with the seasons and suggested, rather than imposed, at the wider context and implications of the actions onstage. For a concert, this was all we needed.

Fresh from reprising his role as Jean Valjean on Broadway, John Owen-Jones was a delight as hero John Tallentire. Blessed with subtlety and, of course, ‘The Voice’, Owen-Jones made light work of a complex score, though there was a tendency to over-sing some of the more tormented ballads.

Director Samuel Hopkins matched his leads perfectly – Jenna Russell, as Emily, brought a beautiful authenticity to the role, heartbreaking at times in its raw-ness. Together, Owen-Jones and Russell commanded the stage delightfully.

There were some brilliant performances too from some of the supporting cast, Evelyn Hoskins as May was light and funny, and in great voice. Nigel Richards was on fine form with his usual mix of endearing charm and pathos as Isaac, and Jessica Louise Parkinson as Sally is one to keep an eye on.

Andrew Linnie put together a small but mighty orchestra to take up Goodall’s romantic, folksy score, and for the most part it worked beautifully – though there were times when a little more brass and woodwind could have really broadened the landscape of the sound – and it did get a tad string-heavy at times.

Linnie had also done a fantastic job with the ensemble members who made an incredibly precise and empathetic sound at their loudest, but more importantly, at their quietest too.

Perhaps one of the most inspiring parts of this production was the inclusion of Bragg himself as the Narrator.  In his own words: “[I’m] rather nervous that I am to narrate it, as over the last few years I have got very used to hiding in a radio studio with notes on the desk. I just hope I don’t let it down. It’s a piece of work with which I’m very proud to be associated.”

To watch someone sitting amidst their own creation with such clear joy, was one of the great personal highlights of the evening, and as Goodall joined him onstage and the audience rose to its feet, it was clear that there was a great and deserved affection for the duo and all they had achieved here.

Aura Simon