Skip to main content

The 306: Dawn

Dalcrue Farm, Perth
Five stars

In a barn outside Perth, three young men are being forced to face up to their unplanned, unwanted and heartlessly unnecessary destiny in Oliver Emanuel's meditation on the 306 men executed for cowardice in World War One. As brought exquisitely to life in Laurie Sansom's impressionistic music theatre staging, this epic co-production between the National Theatre of Scotland, World War One centenary art commissioning project, 14-18 NOW, and Perth Theatre in association with Red Note Ensemble belatedly honours the dead.

Emanuel's play focuses on three of the men; Harry Farr, Joseph Byers and Joseph 'Willie' Stones, and shows the human frailties behind their eventual fate. From a shellshocked Farr's final moments with his young wife Gertrude, to Byers' enthusiasm to join up, all three men are brutalised by the institution they so loyally served.

Seen between the hours of 2.30 and 4am, the action moves across five stages which are raised above designer Becky Minto's complex network of catwalks and framed by a platform fenced by trees carved into the shape of rifles. Sansom's swansong as artistic director of the NTS shows off his ability to navigate a cast around such a vast expanse in a way that makes every moment matter.

As well-drilled ensembles go, the nine actors are more than a match for the highly choreographed chutzpah of Black Watch, that other war-based dramatic collage that first put the NTS on the map. Here, however, the imagery drawn from Emanuel's writing is gentler and more vulnerable as it betrays . the fear and horror of cannon fodder packed off to a foreign land, with some of those fighting for a cause they could barely comprehend not long out of short trousers.

It is driven too by the sweep of Gareth Williams' score, in which the actors part sing their lines accompanied by Red Note Ensemble members, pianist Jonathan Gill, cellist Robert Irvine and violin player Jackie Shave. Josef Davies, Scott Gilmour and Joshua Miles play Harry, Joe and Willie with an unerring grace in this most brilliantly moving of elegies.

The Herald, May 30th 2016

ends

Comments

Popular posts from this blog

Clybourne Park

Adam Smith Theatre, Kirkcaldy Four Stars
It’s a case of whoops, there goes the neighbourhood twice over in Rapture Theatre’s revival of Bruce Norris’ Pulitzer Prize-winning play, which opens in 1959 in the same Chicago suburb where Lorraine Hansberry’s drama, A Raisin in the Sun, which appeared that year, is set. Here, Robin Kingsland’s Russ and his wife Bev, played by Jackie Morrison, are preparing to move out of their now almost empty des-res following a family tragedy.
Unknown to them, the bargain basement price tag has enabled a black family to move in, with Jack Lord’s uptight Karl a self-appointed spokesperson for the entire ‘hood. Russ and Bev’s black maid Francine (Adelaide Obeng) and her husband Albert (Vinta Morgan), meanwhile, bear witness to a barrage of everyday racism. Fast forward half a century, and a white family are trying to buy the same house, albeit with a heap of proposed changes which the black couple representing the block’s now much more diverse community aren’t…

Michael Rother - Sterntaler at 40

"There's so much to do," says an uncharacteristically flustered Michael Rother. The normally unflappably beatific German guitarist, composer and former member of Neu! and Harmonia, who also had a stint in a nascent Kraftwerk, is packing for live dates in Russia and the UK, including this weekend's show at the Queen Margaret Union in Glasgow.
"It has always been my choice to take care of these things myself and not have a manager," he says. "Somehow for me the independent aspect of doing things is really important, but it has its disadvantages."
As well as playing selections from Neu! and Harmonia, the trio he formed with Dieter Moebius and Hans Joachim Roedelius of Cluster, Rother's Glasgow date will see him play a fortieth anniversary rendering of his second solo album, Sterntaler, in full. Rother will be accompanied by guitarist Franz Bargmann and drummer Hans Lampe, the latter of whose musical involvement with Rother dates back to Neu! days, …

Kieran Hurley – Mouthpiece

Things have changed since Kieran Hurley first began writing the play that would become Mouthpiece, which opens at the Traverse Theatre in Edinburgh this weekend. At the time, Hurley was, in his own words, “quite new on the scene.” As a writer and performer, he had already scored hits with Beats and Chalk Farm, two pieces that put him on the map with a new generation of theatre-makers steeped in an equally new wave of grassroots opposition that drew from the iconography of revolutions past. Where Beats looked at the politicisation of 1990s club culture, Chalk Farm, co-written with AJ Taudevin, focused on a teenage boy caught up in the 2011 London riots.
More plays followed. Some, like Heads Up used the same solo story-telling aesthetic to look at an everyday apocalypse. More recently, Square Go, written with Gary McNair, dissected toxic masculinity through a school playground fight.
All the while as Hurley developed as a writer, from new kid on the block to established provocateur, this…