Blackadder Goes Forth

Cheltenham Operatic and Dramatic Society

Blackadder Goes Forth                                                                                                   

As seen by: Frankie Telford on January 31st 2018

Directors: Nick Tobias and Elizabeth White

The Playhouse, Cheltenham

This was the first production I had attended to mark the centenary remembrance of the ending of The First World War.  The three episodes chosen were ‘Corporal Punishment’, ‘Private Plane’, and ‘Goodbyee’.

There are many complexities transferring something written for television to the stage, but this set had been designed to overcome them.  The orchestra pit had been transformed into a ‘Trench’; the floor of the stage had been divided into two areas, stage right had beds and stage left a bed, desk and chair; and a high level area above head height had been created at the back of the stage for the scenes away from the Battlefield such as the Commanders Office; there was a huge amount of detail in the set construction and dressing, with wooden structures and sandbags giving the effect of being in the ‘dug-out and trenches’, and variations in furniture for the various scenes.  The door to the stage right area had been cleverly constructed so that when the area became a German prison cell it came to pieces when battered in the escape.

The lighting had been well designed, operated and timed, with the individual areas being lit independently so that a single area or multiple areas could be lit together.  It really helped create the atmosphere of the various locations.  The sound effects were appropriate and the opening of the second half in the aeroplane in ‘the skies over France’ was excellent, very reminiscent of North-by-North West.  The lighting for the ending was very atmospheric using a red wash with pools of light and helped to create the horror and the poignancy.  The costume bill for the production must have been quite high with all the uniforms required but the all looked very authentic.  The only character I was a bit disappointed with visually was Baldrick, as he seemed much too clean and tidy.

 

Casting something like this is difficult because most of the audience will have preconceived ideas of the characters and expects to be able to identify them immediately.  In this production the actors had captured the essence of the characters but made them their own.  When I looked at the Cast List before the play opened the only characters I could not immediately visualise were Bob ‘Bobbie’ Parkhurst, as she was female I presumed it was a minor character, and George Colthurst St Barleigh.  Every member of the cast gave strong performances and it would be unfair to single anyone out as they worked together as a team, both main characters and ensemble.

Directors Nick Tobias and Elizabeth White had risen to the challenges of translating television to stage and had ensured everyone had captured and developed their characters and brought out the humour and darker side well.  I thought the ending was a fitting tribute to the fallen. 

 

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