Oh What a Lovely War – Theatre Royal Stratford East

Caroline Quentin in Oh What a Lovely War at the Theatre Royal Stratford East. Picture: Roy Tan

Oh What a Lovely War continues at the Theatre Royal Stratford East until 15 March.

This year is big for anniversaries. One hundred years ago saw the commencement of the First World War, it also saw the birth of Joan Littlewood whose Theatre Workshop devised this  ‘musical entertainment’ that brilliantly depicts the follies of war and brings home the terrible carnage suffered on the Western Front. Terry Johnson and his creative team’s production, in the show’s 50th anniversary year, remains true to the spirit of the original show, but has been re-created rather than just resurrected. The aim being for the piece to resonate with modern audiences.

The concept of setting it within a seaside pierrot show remains, presenting the historical figures as caricatures, singing and dancing to the popular musical hall songs of the time. Dialogue is based on true accounts and reflects the war from the ordinary soldier’s point of view. At the time this was groundbreaking, as previously the conflict had only been described by stiff upper-lipped officers. Showing lions being led by donkeys caused great controversy which still continues as today’s politicians wade in claiming that this and other shows peddle a left-wing myth. Ironically, the publicity from this intervention has done wonders at the theatre’s box office.

The theatre is decked with huge patriotic flags and some of the pierrot performers wander amongst the audience, bantering with them, until called to the stage by the Master of Ceremonies who cracks a few corny jokes before leading the audience in an overture sing-song. A slide show follows, for the benefit of the younger members of the audience, explaining the lead-up to the outbreak of this war to end wars.

Lez Brotherston’s set is a distressed proscenium arch, flanked by balcony boxes, that moves when required to represent the barbed wire and the claustrophobia of the trenches. A large screen descends to show war footage and an electronic news board spells out events and the devastating casualty statistics.

Among the many classic scenes, the one on Christmas Day, when English and German soldiers meet and exchange carols and gifts, remains as spellbinding as ever. In contrast the profiteers meet at a grouse shoot and speak of their fear that the war might be ending early, ignoring the devastating effect their goods are having. Amongst the lighter moments there is a wonderful scene where new recruits are instructed in the use of bayonets by a demented and unintelligible sergeant major played by Shaun Prendergast, also excellent as the Emcee. Amusing, although terribly shocking, is the strategy meeting between Sir John French and his Belgian and French-speaking counterparts, stubbornly carried out without the benefit of an interpreter.

All members of the cast are excellent as they switch seamlessly between their multi-roles and cope with fast off-stage costume changes. Michael Simkins stands out as French while Ian Bartholmew imbues Douglas Haig with a fanatical and religious zeal as he orders advance after advance into certain death. This is counterpointed by his plaintiff singing of ‘Goodbye-ee’. Caroline Quentin proves to be an all-rounder, delivering ‘I’ll Make a Man of You’ with a saucy repartee, full of innuendo. She also has the audience singing along to the tongue-twisting ‘Sister Susie’.

But it is often the soldier’s parodies that prove to be the most telling and effective with the church parade service proving to be a fine example. Familiar hymn tunes becoming ‘Forward Joe Soap’s Army’ and ‘When This Lousy War is Over’.

Although 50 years old the show still packs an emotive punch with the final scene leaving a powerful and heartbreaking image. French soldiers, led like lambs to slaughter, slowly advance bleating until they are cut down one by one.

Barrie Jerram