“With principles come responsibilities”
It is perhaps a tacit admission of the complexity of the timeline (1914-2006) of new musical The White Feather that it is explicitly spelled out in the programme, each song accompanied by its time and place which isn’t always abundantly clear from the production, directed by Andrew Keates. Ross Clark and Keates’ book has an admirable scope in trying to draw together narrative strands around cowardice in the Great War, the condition we now know as post-traumatic stress disorder, female emancipation, closeted homosexuality, the comparative merits of Ipswich and Paris… but in this short space of time at the Union Theatre and with insufficient clarity, can’t quite do them all justice.
The main story focuses on sixteen year old Suffolk farmer lad Harry Briggs (a suitably petulant Adam Pettigrew) who enthusiastically signs up for the army in 1914, pretending he’s three years older in order to make the cut, but who is soon emotionally brutalised by the horrors of war and the inability of the armed forces to recognise the problem. Executed for cowardice, like over 300 other Allied soldiers, it is left to his sister Georgina (a focused Abigail Matthews) to embark on a lengthy fight for a posthumous pardon, one which also traces her own journey through the troubled times of a country at war and a society in the midst of great upheaval. Continue reading “Review: The White Feather, Union Theatre”