Blackadder Goes Forth

The Hoghton Players brought biting wit and poignant satire to Hoghton Village Hall with their staging of Blackadder Goes Forth. Set against the backdrop of the First World War, the play follows the sardonic Captain Edmund Blackadder as he navigates trench life with his hapless companions Private Baldrick and the ever-enthusiastic Lieutenant George. Their misadventures are compounded by the blustering incompetence of General Melchett and the sycophantic Captain Darling, creating a satirical portrait of military hierarchy and futility.

Under Stuart Lockhart’s assured direction and production, the Players delivered a show that balanced sharp comedy with underlying poignancy. The pacing ensured that every gag landed cleanly, while the performers’ fully realised caricatures brought familiar characters vividly to life. Blackadder’s sardonic wit, Baldrick’s deadpan absurdity, George’s buoyant innocence, and Melchett’s booming bluster all played off one another with precision, sustaining laughter while hinting at the darker truths beneath the humour.

The stage was divided to reflect the contrasts of trench life and military bureaucracy. At centre front, the trench set grounded the action in mud and claustrophobia, while to the left Blackadder’s dugout detailed with bed, helmets, canteens, and other military gear. A table at the front provided his link to HQ. Stage right housed Darling’s office, its wallpaper, and relative cleanliness offering a comic counterpoint to the trench, officers “roughing it” in their own way. On the apron, two jail cells flanked the stage: the British cell to the left and the German cell to the right, adding further comic potential and visual variety.

Set design was created by society members, with stage manager David Smith and his extensive team ensuring smooth transitions. A particularly effective touch saw actors in costume move set pieces as scenes unfolded, supporting momentum and reinforcing the immersive atmosphere. Props and set contributions from Halifax Thespians, Jonathan Mallinson, Anne Hardman, and Annie’s Attic were both period-appropriate and functional, grounding the comedy in a believable environment. Costumes hired from History Bunker in Leeds and Onstage Costume Hire in Preston looked fantastic, not only historically correct but tailored to each character’s personality. Hair and makeup by Millie Santus and the cast completed the transformation, ensuring every performer looked the part.

Lighting by Steven Boult was tight and atmospheric. The bunker was kept slightly dimmer to evoke the oppressive mood of trench life, contrasted against the brightly lit officer’s accommodation which emphasised its comic artificiality. Timing for changes was judged well, with shifts in tone and focus handled carefully. The subtle interplay of shadow and brightness added depth to the staging, heightening both the humour and the ominous presence of war. Sound and special effects by Andrew Freeman landed right, from the ringing of telephones to the slap sound every time Baldrick was hit. The layered effects of rain, gunfire, and bombs running under the bunker and trench scenes added atmosphere and tension, reminding the audience of the ever-present threat of war beneath the comedy.

Robin Brown’s performance as Edmund Blackadder was excellent. He carried the sardonic wit of the character with ease, his timing consistently sharp and his facial expressions perfectly judged to underline the humour without ever overplaying it. His annunciation was particularly striking: clipped beginnings and emphatic endings gave his delivery a crispness, ensuring the sarcasm landed with clarity and impact. Subtle shifts of expression, a raised eyebrow, a weary glance, conveyed volumes about Blackadder’s cynicism and frustration. Robin’s ability to balance restraint with comic punch meant that the character stayed the anchor of the production, grounding the absurdity around him while still drawing consistent laughter.

Steve Catterall was fantastic as Baldrick, embodying the hapless sidekick with a performance that was both hilarious and finely judged. His vacant expression, perfectly sustained, giving the character an air of bewildered innocence that contrasted beautifully with Blackadder’s sharp cynicism. His comedy timing was impeccable, whether delivering the infamous “cunning plan” lines or reacting to chaos around him. What made his portrayal especially effective was how closely he captured the sound and rhythm of Baldrick’s voice, that slightly flat, matter-of-fact tone that made even the most ridiculous statements feel oddly sincere. His physicality matched the vocal work: slouched posture, hesitant movements, and wide-eyed simplicity made him instantly recognisable. Importantly, Steve brought warmth to Baldrick, ensuring the audience laughed with him rather than at him.

Luke Southern captured George’s boundless enthusiasm and wide-eyed innocence with charm and precision. His facial expressions were a constant source of comedy, ranging from eager grins to bewildered stares, each perfectly timed to underline George’s lovable cluelessness. There was a puppy-like quality to his performance, full of youthful exuberance, bounding energy, and unshakeable optimism that made him instantly endearing. His comic instinct was sharp, ensuring George’s naivety never felt forced but flowed naturally from his buoyant personality.

Brecon Harrison was hilarious as Melchett, throwing himself into the role with gusto and capturing the character’s pomposity to pronounced effect. His booming voice and exaggerated mannerisms perfectly conveyed the ludicrous authority of the general, while the silly noises and bluster added layers of comic absurdity that had the audience in stitches. He leaned fully into Melchett’s ridiculousness yet never lost sight of the rhythm of the comedy, ensuring every interruption, misunderstanding, and outburst landed cleanly. Brecon’s Melchett was larger than life, a comic force that dominated the stage whenever he appeared.

Peter Howarth captured every ounce of Darling’s sycophantic desperation with relish. His performance had a wonderfully nervous energy, with hunched shoulders, hesitant movements, and anxious glances reinforcing Darling’s perpetual discomfort. Vocally, Howarth gave the role a sharp edge, shifting seamlessly between obsequious flattery when addressing Melchett and exasperated frustration when sparring with Blackadder. His snivelling delivery, combined with physical awkwardness, made him the perfect foil to Brecon’s booming Melchett.

Stuart Lockhart was a riot as the outrageously loud and obnoxious Lord Flashheart, commanding the stage with sheer bravado. His over-the-top gestures and swaggering physicality perfectly captured the character’s larger-than-life persona, while his booming delivery had the audience laughing aloud from the moment he appeared. Every entrance was explosive, every line delivered with gleeful arrogance, and every gesture dialled up to maximum impact. The contrast between Flashheart’s brash confidence and Blackadder’s weary cynicism heightened the comedy.

Cepha Emmeline impressed with versatility, first as firing squad commander Jones with a sick sense of gallows humour and cockney edge, then as German officer Von Richthofen, switching voice and presence with sharp precision. Samantha Lockhart, Aimee Gallagher, Aneta Paruk, and Rana Shihadah-Davidson contributed strongly to the ensemble, popping on and off stage with set changes, supporting the rhythm of the piece, and forming the firing squad with comic menace. Their multiple roles added texture and variety.

The audience responded enthusiastically throughout, laughter punctuating every scene. Yet the production’s conclusion carried a poignancy that lingered long after the curtain fell. As the curtain closed, a solitary bugler began playing The Last Post from the rear of the auditorium, progressing slowly towards the stage. When the curtains opened a final time, Blackadder, Baldrick, George, and Darling stood in cutout black silhouettes, reminiscent of the fallen soldier statues seen across the country. Against this stark tableau, a gentle fall of red poppy petals drifted down, striking against the black figures and leaving the audience in hushed reflection.

This was a spirited, witty production that honoured the satirical brilliance of the original while highlighting the Hoghton Players’ ensemble strength and technical craft. With sharp direction, strong performances, and atmospheric staging, it was a memorable evening of theatre that blended laughter with solemn remembrance.

I would like to thank everyone involved in this production for their kind invitation and warm hospitality throughout the evening, and I look forward to many more productions from The Hoghton Players in the future.

 

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