Set on a minimalist stage with a cast of two, Dare Devil Rides to Jarama is a surprisingly successful account of the International Speedway star from Oldham, Clem Beckett, during the economically and politically turbulent 1920s and ’30s. The play’s central story – and its climax – recounts his time spent fighting in the Spanish Civil War alongside the writer, Christopher St. John Sprigg (more familiar under his nom de plume of Christopher Caudwell) with whom Beckett struck up a powerful friendship.
David Heywood makes a convincing Beckett and Neil Gore shows off his versatility by playing a number of parts from Sir Oswald Mosley to Christopher Caudwell. The play has some nice touches which (on the occasion that I was there) went down well, including a clever representation of the ‘wall of death’ with a puppet and a lusty sing-a-long to Euan McColl’s Manchester Rambler. There were many opportunities for audience participation (should you be in such a mind); such was the atmosphere, I even noticed a professor of history joining in. No mean feat.
It’s often difficult for historians at these events, particularly if (as is often the case) they are asked how accurate the production is. Often the answer is ‘not very’ though, of course, it should be remembered that the the constraints placed on fiction are rather less demanding than those placed on historical studies. It would be most unwise to take Shakespeare’s plays, John Ford’s westerns or George MacDonald Fraser’s historical novels too literally. To their credit, Townsend Productions‘ writer/actor Neil Gore and director Louise Townsend have clearly worked very hard to tell Beckett’s story as honestly and accurately as possible. I certainly think that the play does a remarkable job in explaining why so many men and women from Britain and Ireland (not to mention another 50 countries from around the globe) chose to leave their homes, families and friends to fight in a foreign civil war.
My only small criticism is that I felt the play was a little unkind to Caudwell/Sprigg. His character was something of a caricature, a bumbling upper-class twit, with the voice of John le Mesurier, yet little of the knowing, ironic humour. In ‘Dare Devil’ Sprigg rather seems to have ended up in the International Brigades, influenced by the strength of character of Beckett, whereas my impression is that ‘Spriggie’ volunteered to fight in much the same way as the other 2500 British and Irish volunteers. Likewise, in the final scene [spoiler alert], Sprigg is nowhere to be seen as Beckett, his French machine-gun having typically jammed, meets his end on the Jarama battlefield. Yet accounts from other member of the battalion fighting that day in February 1937 suggest that Beckett and Caudwell fell side by side, as inseparable in death as they had become in life. To be fair, a cast of two – one of whom needs to be operating the lighting – does rather limit one’s options.
But don’t let this small gripe put you off. Dare Devil Rides to Jarama is a powerful, atmospheric production and you have the additional satisfaction of knowing that, by going, you are supporting the work of the IBMT, who helped fund it. The play is on tour around the country at the moment, with dates available up to March 2017. Catch it while you can.