Lest we forget: ATYP’s A Town Named War Boy

Presented by ATYP and the State Library of New South Wales, Ross Mueller’s A Town Named War Boy takes a collage-like approach to storytelling: rather than tell the story of one person, he has used fragments of diaries in the State Library’s collection to create an impression of the campaign, both in the trenches and the journey from Australia.

Ostensibly the story of four young men – Snow, Huddo, Tom, and John – it is Snow who Mueller’s impressions centre around, whose story we follow from a small country town in Victoria to the cliffs in Turkey and back again. Mueller’s writing, as in all his work, is muscular and vernacular; there is a robust command of the language which, when delivered by these four young actors, seems entirely natural and effortless. Mixing more contemporary speech patterns with those of a century ago, Mueller creates many haunting images and moments which are brought to life by director Fraser Corfield, designers Adrienn Lord (set and costume), Emma Lockhart-Wilson (lighting), Steve Francis (composer), Alistair Wallace (sound), and the cast.

Letters from the front: Ensemble’s The ANZAC Project

As the Western world bands together to commemorate the various centenaries of the First World War, there is any number of concerts, plays, books, films, television series and CDs to mark the occasion. To mark the centenary of the Gallipoli landing, the Ensemble theatre is staging The ANZAC Project, a double-bill of two new plays, which looks at the event and asks ‘what does it mean to us, now, here, today?’ Ensemble theatre is not alone in asking these questions, but perhaps we should all be taking a leaf out of these umpteen commemorations and asking ourselves ‘why is this military failure so celebrated?’

The ANZAC Project is comprised of two new plays – ‘Dear Mum and Dad’, by Geoffrey Atherden, in which a woman discovers a letter from her great-grandfather and learns of his experiences during World War I; and ‘Light Begins To Fade’, by Vanessa Bates, in which several stories intertwine, not least a group of television writers trying to find their way to tell the story of the Gallipoli landing, and the wider issues it opens up. While united in theme and idea, these plays work in very different ways and, ultimately, Bates’ is the more successful, the more theatrical.

Band of brothers: Bell Shakespeare’s Henry V

Synonymous with British patriotism, Shakespeare’s Henry V is a play full of contradictions and ambiguities, powerful rhetoric and hollow promises, and is the concluding statement in an epic double-tetralogy of ‘History’ plays. Written in 1599, it came at a time when English theatres were rife with war dramas celebrating England’s success on the battlefield and ocean. On one hand, Henry V plays to the audience hungry for another war play – a “tribute to English courage, underdog spirit and a blessing of its current exploit in Ireland” – while simultaneously undermining these nationalistic associations, with “acts of cruelty we struggle to forgive… and an epilogue that makes the whole jolly rumble seem pointless in the first place.” Damien Ryan’s production of Henry V for Bell Shakespeare, on its last leg of a six-month national tour, plays with these ideas and more and gives us a harrowing piece of theatre about war, sacrifice and leadership which stands head, shoulders and torso above the rest.