Poppies continues at The Space, London until 29 May.
Star rating: three stars ★ ★ ★ ✩ ✩
Surely it must be difficult to devise a new theatre piece about the First World War? With iconic pieces like War Horse and Oh What a Lovely War defining the genre and new pieces being produced on the London Fringe regularly, it’s a challenge to shed new light on a subject we think we know too well.
Poppies, which debuted at the Edinburgh Festival Fringe last year, has now moved to the intimate venue at The Space. Writers Laura Kaye Thomson and Lizzie Bourne have created a punchy piece which showcases the strengths of three very different women trying to find their purpose in the midst of war.
We have prim and proper, literary May Kirklees (Arabella Gibbins), who wants to go to war to embark on a social mission to provide entertainment for the soldiers, whether they like it or not.
Fiery Elsie Banner (Bronte Tadman) is sceptical after experiencing her own personal tragedy, and ditzy Ada Kirklees (Laura Kaye Thomson) says that although it’s war ‘she must have two pillows’.
Initially these three woman are caricature. A limited version of womanhood which does occasionally lend itself to comedy. Memorable scenes include Elsie and May’s first meeting as a class clash becomes obvious.
Providing basic humour is not the strength of the play though, nor is laughing at class divides. The piece really comes into its own as the show progresses with each character becoming fully fledged. They are people that we not only connect with, but most importantly like.
Key scenes include May, Elsie and Ada’s first performance to a group of disinterested and resentful soldiers. ‘The Working Women’ number is not only a celebration of womanhood, but the effect that music provides to boost morale, and Gibbins’ final performance positions her as the standout performer of the entire show.
Poppies is a beautiful musical which is complemented by a strong ensemble of great actors and powerful folk musicians. This is not a sentimental, sugary musical theatre piece solely about the horrors of war, but a celebration of womanhood and performance in equal measure. It does indeed shed new light on its poignant subject matter.
Rebecca Gordon
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