Image: Joseph Priestley

11th May 1985 is a date that will be deeply engraved in West Yorkshire history, for all the wrong reasons. It was supposed to be a day of celebration for Bradford City football club, with over 11,000 fans packed into Valley Parade, to watch their side lift the Division Three title – the first time the club won a trophy in almost 60 years. However, 56 of those fans tragically lost their lives at the game in one of the biggest tragedies in football history. A fire had spread from the 77-year-old wooden main stand and caused devastation to the football club and the lives of many.

‘The 56’ commemorates the events of that day and those that lost their lives, with extensive detail put into researching and compiling the stories of many, and merging them into three characters on stage. Those characters, dressed in 1980’s attire, delivered perfectly the stories and feelings of those affected by the fire, and they helped describe it in a detailed, yet respectful fashion. The characters, who each took turns in talking through their version of events, helped take the audience on a journey from the beginning of the day, where the fans were celebrating the ‘carnival atmosphere’, to the aftermath of the fire, depicted using the imagery of crowded hospital wards.

There were also some mildly humourous moments, which did not disrupt the respectful tone of the production, but helped ease the audience into such a difficult topic, and give humanity to the characters on stage.

As a football fan, I was well aware of the events that happened 30 years ago at Valley Parade; however the loss is seen as the ‘forgotten tragedy’ by so many. This is why it was important that this production not only remembered the 56, but also told a story on a detailed and sometimes chilling level, to an audience that may be unaware of the disaster, and do this without being disrespectful to the families of those that lost their lives. This was no mean feat, and for ‘the 56’ to find the right balance is something that must be commended when dealing with such a sensitive topic.

The production did not need melodramatic acting, emotional music or a glamourised production to describe the events that happened. Actions do not always speak louder than words, and ‘the 56’ proves that, as it was the words that the audience were gripped by, the words that helped retell the story, and the words that honoured those that had lost their lives.

‘The 56’ ended with the names of all 56 people that died being read out through the speakers, which was a lovely touch from the director to include, and helped stress the idea that this story was about remembering the 56, and providing them with a lasting legacy.

This was a sensitive subject, and it needed to be dealt with respect, and I think the production did that superbly.

To mark the 30th anniversary of the tragedy, ‘the 56’ cast will be touring around the country, and will bring the production to The Alhambra Bradford between the 23rd and 25th April, with all profits being donated to The Bradford Burns Unit; a world renowned burns research facility that was set up by Professor David Sharpe in the aftermath of the fire.  

 

Joey O’Hagan