“There’s no more to be said
For when we are dead
We may understand it all”
Commemorating the start of the First World War has turned into something of a full-time business for the nation’s theatres but in reviving the rarely-seen 1927 Sean O’Casey anti-war piece The Silver Tassie, the National Theatre has hit on something special. The play is structurally extraordinary in the difference of its four acts – a vaudevillian take on an Irish household transforms memorably into the visceral horror of a battlefield haunted by music hall songs, after the interval a hospital-set comedy eventually turns into stark realism, as the shattering effects of war on society are laid bare. Howard Davies’ epic production forges through blood and noise to find a most painful truth.
The cumulative effect may challenge some and is certainly disorientating at times but it also has a form of progression that feels natural, like feeling a way through what we now call post-traumatic stress disorder. Opening in the Dublin tenement home of the Heegans, the play riffs on Irish stereotypes through the clownish figures of Sylvester and Simon and the neighbourhood archetypes they teasingly mock but soon allows young gun Harry Heegan to take centre stage, boasting the trophy – the Silver Tassie – he and his teammates have won playing soccer, just before they head off to join the British war effort. Continue reading “Review: The Silver Tassie, National Theatre”
“I’ve got the evacuee to prove it”
Now that Blood Brothers has now finished its lengthy London run, the Phoenix Theatre is opening up its doors to new productions: Midnight Tango and Once will come in the new year but first up is Chichester Festival Theatre’s production of Goodnight Mr Tom ahead of a UK tour. Michelle Magorian’s novel belongs to the similar strong tradition of children’s literature as Nina Bawden’s Carrie’s War, that contextualises the Second World War evacuee experience for many children. And David Wood’s adaptation wisely does not attempt to sugar the pill, though billed as a family show and with a beautifully sensitive story of personal awakening at its heart, there is no escaping the brutal shadow of war which ensures the production is never in danger of becoming twee.
The story brings out a wonderful sense of the potential for emotional growth at any age: Oliver Ford Davies’ gruff but kind Tom encourages the bruised soul that is Will, played here by Ewan Harris (one of three young actors sharing the role), to come out of his shell as the young Londoner is billeted to a Dorset village where he experiences the countryside for the first time, learns to read and write and generally flourishes now away from the troubled, abusive mother left in London. But Will provides a similar service for Tom, releasing him from the emotional paralysis that has gripped him for nigh on 40 years and Ford Davies’ depiction of the slow release of his suppressed paternal instinct is just beautiful to watch. Continue reading “Review: Goodnight Mr Tom, Phoenix Theatre”