Arms and the Man

For their first play of 2023, Second Thoughts Drama Group turned to George Bernard Shaw’s Arms and the Man.  Described as a light comedy, it initially felt more like a drama, particularly as the events depicted at the outset – a soldier fleeing a brutal battle - immediately evoked thoughts of the ongoing conflict in Ukraine (which as pointed out in the programme, is very much in the same neck of the woods as Bulgaria, Shaw’s setting). 

The play, then, is set in the home of the Petkoff family, which is unexpectedly invaded one night by an enemy combatant, Captain Bluntschli.  Taking pity on him, young Raina Petkoff hides him in her bedroom and later facilitates his escape.  Some months later, when her father, Major Petkoff, and fiancé Sergius Saranoff return victorious from the war, so – unexpectedly – does Bluntschli, leaving Raina with some explaining to do.  Romance later blossoms between Raina and Bluntschli (her ‘chocolate cream soldier’), and Saranoff and Louka, the Petkoff’s serving girl – all despite the entreaties of Raina’s parents, Paul and Catherine.

Vanessa Gravestock was a poised and confident Raina, clearly demonstrating the headstrong nature of a girl who certainly knew her own mind.  There was a similarly strong performance from Georgina Monk as the insolent Louka, full of attitude and side-eye.  In many ways, these two women formed the core of the play, despite the peacocking of the soldiers surrounding them.  Gill Hines completed the female side of the cast as Raina’s mother, Catherine, conveying well her confusion and exasperation as her careful plans for her daughter come to naught.

As for the men, I thought Tim Raistrick was very good as Paul Petkoff – every inch the old and somewhat eccentric soldier, if somewhat bemused by the goings on around him.  Sion Grace and Andrew Tyrer bounced off each other as Saranoff and Bluntschli respectively; Andy Watts gave us a rather forlorn Nicola, destined to be abandoned by his love; and Tom Purchase Rathbone made a short appearance as a Russian Officer hunting Bluntschli in the first scene. 

I’m told that this play was rehearsed in just five and a half weeks, which is a great achievement by the whole team.  It might also perhaps explain some of the tentativeness of this first performance, where there were also some problems with lines, particularly in the opening scene.  But no matter, the pace picked up as the show went on and the performers grew in confidence.  Director Amanda Laidler sought to emphasise the comedic aspects of the play, particularly towards the end of the second act, when things got almost farcical.  This was fine and a perfectly reasonable reading of the script, although I did hanker for perhaps a little more dramatic tension from time to time.

The play was presented in the round, as has been customary at the Bear Pit in recent years (although I’m told that a remodelling is imminent).  Laidler and her cast did well to keep the characters moving to provide variety and give all parts of the theatre a view of the action.  The set was made up a few simple pieces of furniture, which were well chosen and appropriate to the setting.  These were changed between acts by a very calm backstage crew, against pleasing and suitable musical accompaniment.  The costumes were appropriate and effective, although I was a little puzzled by the fact that Bluntschli – who is identified as an enemy combatant early on by his uniform – wore a costume that looked exactly the same as Petkoff’s. 

My thanks to all at Second Thoughts for welcoming me so warmly once again to their show – it is always a pleasure to visit such a friendly group.  Congratulations for an effective staging of such an interesting and, these days, relatively rarely seen play.  I look forward to seeing you all again soon. 

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