Made in Dagenham, Adelphi Theatre, review: 'larger than life' A hilarious, all-singing, all-dancing - and pipe-sucking - Harold Wilson. Legendary Labour bigwig Barbara Castle reconceived as a lung-busting diva. Picket lines of placard-waving women belting out rousing, indignant anthems. And an ingenious set that takes you to the heart of Sixties industrial Britain, seemingly by way of Willy Wonka. Well, the creative team that has brought Made in Dagenham to the West End stage, turning one of the most loved British films of recent years into one of the most hotly anticipated new shows in town, certainly can't be said to stint us on surprises or fun; and designer Bunny Christie deserves to win awards galore for her contribution. The story of the landmark strike by women sewing machinists at Ford's Dagenham plant in 1968 - protesting the sexist and penny-pinching decision to classify them as lesser skilled workers - has gained renewed topicality. The issue of equal pay - which their dispute supposedly helped to settle once and for all in 1970 - grimly rumbles on. One danger, of course, was that earnestness might creep in. But when you've got a director as gifted with visual flair as Rupert Goold and a writer as wittily inclined as Richard Bean, the resulting rule of thumb is "Never give them a dull minute." With perky lyrics from Richard Thomas (best known for Jerry Springer: the Opera) and composer David Arnold contributing thumping pastiche Sixties rock and pop, the emphasis is on a sustained feel-good factor - larger-than-life meets tongue-in-cheek. In terms of scene-setting, the approach can't be faulted. "If you want something done then ask a busy woman," runs the cheeky, bloke-baiting opening number. In the air, revolving as if on a production-line carousel, are identikit car-seats; on the shop floor, the "girls" chatter. When news of their unjust treatment hits home, it's clear what's required and what's at stake: Rita O'Grady (an invented heroine, played here by Gemma Arterton) emerges from the shadows to become the women's forthright representative - taking the fight to the TUC and House of Commons - but the unhappier payback is that her loyal husband Eddie (Adrian Der Gregorian) and kids feel neglected. While it's perfectly engaging, the upbeat tone becomes faintly monotonous and the story is short on dramatic mileage. Former Bond girl Arterton possesses a fine singing voice, beauty and a commanding presence. But the show never digs that deep into its characters, flashes surprising amounts of female flesh considering it's flying the flag for empowerment, and would have been better off recycling some of the more memorable chart hits of the period; stand-out songs are scarce. Yes, it has its heart in the right place, the period costumes are fab and there's superb support, not least from Mark Hadfield as a hyper-angsty Harold Wilson, Naomi Frederick as the boss's wife who befriends the strikers, and Sophie-Louise Dann as a knock-out Barbara Castle. But like the cause of equal pay itself, there's an air of unfinished business about it all. Despite celebrating how a bunch of workers found their voice, the evening lacks a truly compelling one of its own. Tickets: 020 3725 7060; MadeInDagenhamTheMusical.com