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The working class rises up in unusual ways, evolving from a group of uneducated miners who just want to knaa what’s gannin’ on, into an exceptionally creative group of artists. Inspired by a book written by William Feaver, The Pitmen Painters tells the true story of five coal miners from Ashington, a small town in Northern England, whose lives and awareness change dramatically after signing up for an art appreciation class in 1934, sponsored by their Workers Educational Association.
Their exposure to art has been nil, as their lack of understanding is instantly evident when Art History Professor Robert Lyon (Ian Kelly) begins his instruction with a series of Renaissance art slides, and is greeted with looks and lines akin to one scratching their head and “who’s on first,” such as “A Titian” – response “God Bless You.” Lyon immediately realizes these men have never seen a painting in real life or in a book, many of them having left school at the age of 11 years to work in the mines.
The theme of Pitmen is similar to Billy Elliot, both written by Tony Award winner Lee Hall, who grew up in Northern England, and astutely captures the working class, highlighting the glaring class disparity and British socialism. After a successful run in the UK, American audiences now have the distinct pleasure of viewing a place and time that is no more, and yet is extremely pertinent in social and political structure.
What are the chances of miners Oliver Kilbourn (Christopher Connel), who portrays the most soulful and aesthetically sensitive of all, George Brown (Deka Walmsley), who refers to the rules for answers, Jimmy Floyd (David Whitaker), more the clown wise-cracker, on-the-dole lad (Brian Lonsdale) and Harry Wilson (Michael Hodgson), a dental technician with Marxist leanings, all becoming savvy and noteworthy artists? The art education that evolves, remains pertinent life questions for viewers and artists alike. Are there any secrets to art? What should art be? Is it a sense of discovery? Does art make things possible? Is there such a thing as “proper art?” Is art analogous to immortality? After spending nine-hour days underground mining and hauling coal, this group of men discover what society has allowed to remain dormant – “creativity stymied by class.” Yes, there’s a whole lotta preaching going on and rightfully so.
Lyon quickly realizes that showing slides isn’t the same as challenging the men by placing paintbrushes in their hands. It becomes evident that each possesses an individuality in the techniques they discover in their unique artistic talents, and a representational resolve in how they view their lives within their class, yet remaining one. Along the way, Lyon introduces them to art patron Helen Sutherland (Phillippa Wilson), who further helps school the men, her collection including artists Henry Moore and abstractionist Ben Nicholson, whose wood cut “White Relief” (Circle in a Square) becomes a comic scenario. She further enhances their education, making arrangements for the group to attend a Chinese exhibit at the National Academy in London and offering Oliver a stipend to paint, which would mean leaving his job, to which he replies a telling “you can’t change people by throwing money at them.”
As far-fetched as it sounds, the upshot is that these men, within a year, start having exhibitions, painting phenomenal paintings, becoming acknowledged by the art world and yet remain miners. The collection is now in a museum in Newcastle upon Tyne. The Ashington Group, as they came to be known, tell their amazing story as narrative, lecture and dialogue presenting many sides. The cast of eight is rounded out by Susan Parks (Lisa McGrillis), whom Lyon brings to the miners’ art class as a life model causing some comedy disruption and uneasy moments.
The only thing missing for this reviewer would be a scene underground in the mine, which I thought would be forthcoming given the loud clanging noises and effects on various scene changes. That aside, this is a story that is pertinent, educational and, importantly, superior theatre. The Pitmen Painters is presented by the Manhattan Theater Club at the Samuel J. Friedman Theater, 261 West 47th Street, NYC through December 12th.
PHOTO CREDIT: Joan Marcus
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