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Howard Goodall’s 1990 Brechtian musical about a family forced to flee their home during the Spanish Civil War is given a pleasing production at the intimate King’s Head Theatre in Islington, with the cast of West End regulars playing the story touchingly but without desperately tugging at heart strings under Russell Labey’s direction.

The musical has elements of Les Mis about it. David Burt as patriarch Carlos – who incidentally originated the role of Enjolras in the Boublil and Schonberg epic - gives a performance large enough to fill the Queen’s Theatre (this man certainly doesn’t need a microphone) while keeping the character sincere enough to come across well in the cosy fringe venue. His turn as a defeated soldier who is trying to protect his family while keeping the revolutionary spirit alive is affecting, and many audience members were struggling to hold back tears at the end of the evening.

Siobhan McCarthy as matriarch Maria is a wonderful singer and her relationship with Carlos is sweet and believable. The scene in which she refuses to dance with him so as not to make a fool of herself is both funny and moving, and her solo “Market Day”, which opens Act Two, is understated yet powerful. Goodall’s imagery here is particularly effective, switching instantly in tone from amusing to shocking.

The Les Mis elements emerge in several songs of revolution, with the cast standing in a line which looks almost like a parody of “Do You Hear the People Sing?” – which perhaps is unintentional and could be modified slightly. And daughter Sofia (Aimie Atkinson) and her new husband, British soldier Stanley (Simon Thomas), are very similar to Mis’ Cosette and Marius. They have lovely voices and bring a youthful balance to the household, an authentic-looking dilapidated Spanish home in Georgia Lowe’s design, atmospherically lit by Mike Robertson.

Matt Cross is excellent as Jose, the fervent Communist keen to fight the Fascists to the death. He brings a compelling energy and slightly unhinged quality to the role, and his impressive solo “Long Live Death” is a highlight. Victoria Yeates as Teresa, Sofia’s cousin, is bright and cheerful but able to bring tears to her eyes in a moment, with a fantastic soprano voice. Her lively, good-natured portrayal is intentionally at odds with James Russell’s chronically uncharismatic Pablo, Teresa’s future husband and Fascist apologist.

The Brechtian qualities of the piece - such as incongruous songs like the music hall-style “God Said No to Franco” springing out of Renata Allen’s well-written script - take a bit of getting used to. But Days of Hope is intriguing and features some great performances and memorable songs (with smooth musical direction by Kelvin Thomson), as well as a very touching story.

- Caroline Ansdell