This year marks 100 years since the death of Joseph Rowntree, so it’s most fitting that York Theatre Royal’s large-scale community production this year, teaming up with Riding Lights Theatre Company, has chosen to tell the story of his son, Seebohm Rowntree, not so well known as his father, but whose life was equally compelling and impactful on the city of York.

Paul Crewes, CEO, tells us in the programme that “Seebohm’s story reached far beyond the city and had an influence on the country as a whole, particularly after the Second World War with the creation of the Welfare State… His poverty reports helped to transform the lives of many in the city and the country.”

We soon got to see the measure of the man in a touching scene at the beginning of the play. You instantly warmed to the sincerity and earnestness of Seebohm (wonderfully portrayed by professional actor Antony Jardine), who had clearly been inspired by his compassionate and caring Quaker father, Joseph, an exemplary role model (played with great conviction by Mark Payton).

Co-written by Misha Duncan-Barry and Bridget Foreman, and directed by Juliet Forster and Paul Birch, with a huge cast and a choir of more than fifty members, this was an ambitious production, with everyone playing their part, ensuring performance was like one of Rowntree’s well-oiled machines—most impressive. The finale before the interval, for example was joyous as the stage was alive with celebration and energy. Juliet Forster sums this up in the programme when she said that “working with our talented community cast and crew on this production really captures the spirit of the Rowntrees.” Sara Perks used her two-tier set design and Hazel Fall's carefully considered period costumes to great effect.

It was wonderful that Gulie Harlock’s vital role as a health inspector and research partner (played with sincerity and grace by charismatic professional actor Amelia Donkor) was brought into a well-deserved spotlight. Amelia Donkor, an intelligent and diplomatic woman, proved to be a valuable asset to Seebohm in his pursuit of enhancing the lives of his employees.

As well as a deeply fact-packed script, there were many much-needed moments of levity; when Seebohm was interviewing gymnastics teacher Byrnhild Beson (aka Dick, played with great zeal by Christie Barnes and demonstrating impressive acrobatic skills), he found his world turned upside down by her—a delightfully comic scene. Some wonderful tongue-in-cheek moments too (many a true word spoken in jest) when Maurice Crichton’s Frank Benson commanded the stage in the King Lear scene. A clear reminder of the power of theatre, also recognised by the Rowntrees, leaving a legacy of the iconic Joseph Rowntree Theatre, run so lovingly by dedicated volunteers today.

I found the first act of His Last Report pacier than the second act, but overall, this community production was a triumph, showing how, with practical support and hard work, it is possible to break a circle of poverty rather than let poverty break you. A beacon shining brightly in our present dark days, reminding us of the power of kindness and compassion and community working together.

His Last Report is on until 3 August at York Theatre Royal