Oh What a Lovely War

This is ensemble theatre in its purest form, with a large cast equally adept at switching musical instruments, characters and sides. And in the interests of spontaneity, it was a great idea to feature members of the north-east's fine improv-comedy team, the Suggestibles. Gary Kitching begins the evening as a genial, joshing master of ceremonies, and gradually transmutes into Field Marshal Haig, isolated atop a stepladder while spinning dire equations about how many more lives may be required to secure a breakthough that never comes. It's enough to bring a little tear to your eye.

- The Guardian

STUNNING, one audience member remarked as we left the theatre. Never has a truer word been spoken. I would even go far as to say that last night's performance of Joan Littlewood’s powerful musical satire Oh What a Lovely War was one of the best productions I have ever had the privilege to see. With a resonance that transcends the First World War backdrop, this highly-acclaimed piece, originally written in 1963 for the Theatre Royal in London, enthrals from its comedic opening all the way through to its sobering climax. Charting the war years chronologically, this innovative depiction cleverly challenges the patriotic romanticism which has come to characterise the 1914 social climate. In doing so it also draws attention to the economic, social and political changes which took place in the period, such as the shifting of gender relations. However, by continually underpinning such events with a jovial irony, the production manages to be a light-hearted jaunt down memory lane as opposed to a subliminal re-education. This is where the real power of the piece lies. It never once seeks to blur the boundaries of its premise as enjoyable musical theatre and yet at its heart there lies a poignant transferable message that any piece of drama would look upon with envy. Much of this compelling nature owes much to the cast. Rife with songs taken directly from the period, they were able to execute them all with technical brilliance time and time again. Perhaps even more remarkable was the addition of the ukulele and saw as musical instruments; another unique facet that only enhanced the impressive nature of the ensemble. While the acting was essentially sporadic, when required it was executed confidently. Also worthy of a mention is the set, which unlikely so many productions was used to its full potential. The inclusion of a large screen, which at timely intervals played a montage of photographs depicting the brutal realities of trench warfare and the accompanying death figures, was an inspired touch. It provided a contrast to the ever-optimistic sentiment apparent on-stage, reiterating the ironic tone of the piece throughout. All in all this microcosm-like recollection of the First World War in musical form is an evening I would gladly recommend to anyone. In capturing the essence of the period perfectly it illustrates the potential for change such an event can have and stands as a stark warning for future generations. Ironically it suggests that society is heading to a place where this production will never be; No Man's Land. STUNNING, one audience member remarked as we left the theatre. Never has a truer word been spoken. I would even go far as to say that last night's performance of Joan Littlewood’s powerful musical satire Oh What a Lovely War was one of the best productions I have ever had the privilege to see. With a resonance that transcends the First World War backdrop, this highly-acclaimed piece, originally written in 1963 for the Theatre Royal in London, enthrals from its comedic opening all the way through to its sobering climax. Charting the war years chronologically, this innovative depiction cleverly challenges the patriotic romanticism which has come to characterise the 1914 social climate. In doing so it also draws attention to the economic, social and political changes which took place in the period, such as the shifting of gender relations. However, by continually underpinning such events with a jovial irony, the production manages to be a light-hearted jaunt down memory lane as opposed to a subliminal re-education. This is where the real power of the piece lies. It never once seeks to blur the boundaries of its premise as enjoyable musical theatre and yet at its heart there lies a poignant transferable message that any piece of drama would look upon with envy. Much of this compelling nature owes much to the cast. Rife with songs taken directly from the period, they were able to execute them all with technical brilliance time and time again. Perhaps even more remarkable was the addition of the ukulele and saw as musical instruments; another unique facet that only enhanced the impressive nature of the ensemble. While the acting was essentially sporadic, when required it was executed confidently. Also worthy of a mention is the set, which unlikely so many productions was used to its full potential. The inclusion of a large screen, which at timely intervals played a montage of photographs depicting the brutal realities of trench warfare and the accompanying death figures, was an inspired touch. It provided a contrast to the ever-optimistic sentiment apparent on-stage, reiterating the ironic tone of the piece throughout. All in all this microcosm-like recollection of the First World War in musical form is an evening I would gladly recommend to anyone. In capturing the essence of the period perfectly it illustrates the potential for change such an event can have and stands as a stark warning for future generations. Ironically it suggests that society is heading to a place where this production will never be; No Man's Land.

- Newcastle Evening Chronicle