The Return of the Soldier – Hope Mill Theatre, Manchester

Chris Jenkins and Esme Sears in The Return of the Soldier at the Hope Mill Theatre, Manchester. Picture: Phil Tragen

The Return of the Soldier was reviewed at the Hope Mill Theatre, Manchester. The production transfers to the New Wolsey Theatre, Ipswich from 2-6 October 2018.

Star rating: five stars ★ ★ ★★ ★

Writing in 1918 as the effects of the First World War still raged around her, Rebecca West’s The Return of the Soldier holds the unique distinction of being the only novel published by a woman about the war, during the war.

One hundred years later this charming chamber musical from Tim Sanders and Charles Miller recapture the spirit of the novel and breathe new life into a narrative that proves prescient in acknowledging the effect of ‘shell shock’ – now regarded as Post Traumatic Stress Disorder – and the repercussions felt within their family and communities.

Suffering from amnesia, Captain Christopher Baldry returns from the trenches with no memory of his wife Kitty, leaving her devastated to discover that to Baldry she simply no longer exists. His affections instead remain with long-lost lover Margaret, who has since married the steadfast William Grey, having given up hope of rekindling a relationship with the first – and perhaps only ­ man she ever truly loved.

To a modern audience it may seem a somewhat clichéd plot, but crucially each character has the depth and complexity to ground the story in reality rather than sentimentality, with superb, detailed performances all round.

As the soldier at the centre of it all, Chris Jenkins is utterly convincing; his playful, carefree interactions with Margaret unfurling into confusion and vulnerability as his memories of the bombardment resurface.

Naomi Slights embodies Margaret with warmth and sincerity; she is unable to resist the lure of the passion and joy she felt with Christopher over her comfortable but drab life with William. By contrast, Tessa Kadler initially appears cold and detached; but her eyes betray her anguish and when we are shown a glimpse of how happy Kitty and Christopher once were, it makes her eventual breakdown all the more heartrending.

Esme Sears is a poised and dignified presence throughout as Jenny Baldry, Christopher’s younger cousin who has idolised him since their childhood and Marc Pickering shines as both the good-natured Mr Grey and slick psychiatrist Dr Anderson, who is troubled by the knowledge he profits from declaring soldiers fit enough to return to the Front.

All five possess crystal clear voices and create a powerful sound in the intimate Hope Mill space. It is Miller’s sumptuous score that is the real star of the show, from the melodic refrain of the title song to the intricate harmonies and quartets; this, coupled with Sanders’ meaningful lyrics, makes it perhaps one of the best new musical scores in years.

‘No Man’s Land’ and ‘I Know How This Ends’, performed beautifully by Kadler and Slights respectively, are perfect examples of storytelling through song and Pickering has great fun with the catchy, toe-tapping ‘Headmaster’, showcasing his impeccable comic timing.

Pianist Daniel Jarvis and cellist Inés Mota create a rich sound that fills the space and the production looks stunning; the set (designer Leah Sams) segueing from the grand trellis and growing wisteria at Baldry Court to the tattered wallpaper of the Greys’ home, emphasising the class divide.

Similarly, the lighting design from Aaron J Dootson bathes Kitty in a crisp, white light compared to the earthy colours around Margaret as she gets lost in her memories of happier times.

It is clear that director Charlotte Westenra has considered every detail and there is precision in each action and movement.  She weaves the characters across the stage, interacting with each other and their environment in a way that illustrates exactly how they feel at any given moment. The score flows naturally through the piece and as a result the audience is held enraptured, fully caught up in the emotion of the characters and the music.

Over the last three years, the Hope Mill Theatre has played host to a number of hugely successful revivals and has built up an excellent reputation in doing so.

The Return of the Soldier however, is perhaps their most exciting production to date and proves the importance of supporting and nurturing new writing. It is a beautiful, captivating piece of musical theatre that deserves to have a future life; proof that taking a risk on seeing a new musical can provide plentiful rewards.

May Mellstrom