During the latter part of the second act, you begin to realize how subtly Bob Eaton’s production has captivated your attention. Initially, it seemed like just another enjoyable exploration of social history, a narrative interweaving popular culture and political themes, all accompanied by classic rock and roll tunes and enriched by local references to vanishing sites like the Shelton Bar steelworks.
Eaton was a pioneer in the actor-musician genre when he first presented “Good Golly Miss Molly!” at the New Vic in 1989. The narrative is relevant, focusing on the residents of Hawes Street in Tunstall, who fought against the local council’s initiative to demolish their homes under a slum clearance scheme, ultimately advocating for improvements to their living conditions instead.
The director recognized that music served as a unifying force within the community, allowing the story to unfold through the reunion of a band celebrating their past in a social club setting. The character of Molly, portrayed with subtlety by Shirley Darroch in this revival, transitions from a defiant schoolgirl to the lead singer, a member of the National Union of Mineworkers, and chair of the residents’ association, discovering her own potential along the way.
This aspect of the plot may not be immediately clear due to the various family disputes, unexpected pregnancies, and trips to London. However, when the emotional weight of the story becomes evident, enhanced by the remarkable ensemble performing doo-wop harmonies and exchanging instruments, the heartfelt expression of the songs resonates deeply with the working-class struggles depicted in “Good Golly Miss Molly!”
The impact of the narrative would be heightened if the central conflict were explored in greater depth. While audiences in 1989 may have been more familiar with the specifics, the play only offers a cursory overview of what the residents stand to lose. The character of sympathetic councillor Eddie, played by David Ahmad, provides only a vague representation of the challenges they face. Nonetheless, there is an infectious joy in the music that draws the audience into the performance—especially those seated in the front rows—adding an energetic spirit to the company’s 40th anniversary celebration.
This production is being performed at the New Vic Theatre in Newcastle-under-Lyme until May 2.
