Pack Up Your Troubles

Full credit must go to Pamela and David Harrison who conceived this factual telling of atrocities and life during WW1. With the help of projection, enactment, poems, music and sketches, cast movingly and realistically portrayed life during ‘The Great War’. Observing their months of research, transformed from page to stage, will have no doubt, made all the time consuming hard work, a satisfyingly rewarding one!

A fabulous set with trench, sandbags, painted flats and back projection took the audience completely into the action, inducing a pre - show reflection where it felt almost sacrilegious to stir or talk. Projection was handled with exemplary timing, relaying dates and important events that led up to war. While it is accepted these events were relevant to the story, perhaps it was a little too much to take in at one time, covering most of the first two scenes. The eventual declaration moved the action up a notch or two with the introduction of chorus, movement and the departure of young soldiers, action continued, intermingled with stories, poems and song. The realism of cast members representing named soldiers, telling their personal stories of memories or survival was particularly moving. Their respect of the person represented was evident in every aspect of their portrayal but occasionally this superseded the drama and depth of feeling needed to create the atmosphere of the moment. The introduction of Sequence dancers on to the stage created a lighter diversion, performing with precision, style and panache, while the trio of munition workers brought a sparkly, humorous and believable interjection. Any form of audience lethargy was quickly dispelled by serious, sudden gunfire and excellent dramatic lighting effects which focussed on the trenches. The Christmas comradery between British and German forces saw the initial trepidation dissipate convincingly but the scene’s elongation of the activities caused a loss of an adrenaline fuelled energy that would have been apparent during such sensitive subject matter. The visual scene of burial was stunning, with darkened figures, moon light and projected hillside crosses. Technical support could not be faulted in this production helping to build much of the drama and poignancy present. Act II opened to a selection of poem and songs, not about memorable voices, more of a realistic sing-song, completely in keeping with the community ‘rally together and get on with it’. Letters home between Vera and Roland beautifully captured that wistful acceptance of the situation without losing the hope of what might be. A heartfelt ‘Keep the Home Fires Burning’ with the dreaded arrival of the ‘telegram’ saw cast acting with skill and sensitivity, creating a ‘what could only be guessed at’ replication of the situation that occurred in thousands of family homes. A slightly subdued and understated homecoming was probably exactly right for the war-weary soldiers, followed by the stories of those that did not return. A stirring, quiet and respectful finale to what was a thought provoking piece of work.

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