Oh! What a Lovely War

The satirical musical play tells the story of the First World War through the antics of Pierrot Clowns, combining comedy, song, and irony to expose the absurdity and the horror of the conflict.

Impressive vision and direction by Jane Kyte-Hunt of this complex piece of theatre, brought music-hall songs, sketches, and historical facts together within this performance. Although the first 15 minutes felt a little dis-jointed and rushed, portraying a political and strategic situation until the 'war' started, it settled nicely into recognisable rhythm of war-related themes delivered in scenes, and songs, and skits. Particular highlights were the festive trenches scene, with German off-stage replies, the bi-lingual washing line scene, and the Irish soldiers push forward. The pace was relentless, save for some poignant monologue moments, with a vast amount of dialogue for the cast to contend with, and on the night I saw it they were word perfect.

 

All eight players are to be commended for their strong characterisations, and versatility in playing many roles each, in a range of accents, with a new hat or waistcoat or prop identified them as someone entirely different. Credit goes to them all – David Corder, Charlotte Gant, Mathilde Hermosa, Ben Perkins, Andrew Raymond, Marie-Louise Slater, Barry Taylor, and Bruce Thomson.

 

I would like to give an extra mention to both the Narrator of the war games in Act 1, and the English Commander in Act 2, which were featured characters that served to anchor the story as it moving along.

 

The dialogue in French and German language was well handled, though parts of the scenes involving up to five accents were delivered too quickly for me to follow clearly. Singing along to piano backing tracks was in the style of the period, not 'oversung' at all, and showed impressive control particularly by the ladies in their trio and solo numbers. Unfortunately, some group songs ran noticeably ahead or behind the track. The unaccompanied soldier songs worked well in adding authenticity.

 

Costumes consisted of pierrot clown outfits, nicely different to each other with a range of combinations and makeup. The characters throughout the storyline, were identified by hats and hairpieces, waistcoats and skirts, and impressive range of full dresses added to the pierrot basis.

 

The stage was edged with patriotic bunting, framing a simple black set using blocks as needed, and a trench dugout set up stage right. Props were used sparingly to practical and sometimes humorous effect, for example, when the audience got involved in throwing birds onto the stage during the grouse shoot. The carousel style horses for French cavalry were beautifully made.

 

A screen at the back of the stage was used to give contextual information for scenes, with date and place, and casualty numbers, and period photographs and posters. At times the text was obscured by cast members due to the height of the stage, I'm not sure how this could have been avoided given the venue. Audience singing was encouraged, with a song sheet provided, and the programme was presented as an edition of The Wipers Times, full of additional information.

 

It is not an easy play to watch, with constant movement between delivery styles and moods, and was an impressive performance of a complex piece by Theatre at Baddow. Well done to both the cast and crew. I’d also like to thank the front of house for a warm welcome.

 

 

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