Military life isn’t for everyone. Even in peacetime, it puts a lot of strain on not only the serviceman or woman but also their family and friends. In a time of conflict, that strain gets even more intense. This gets worse if the service man/woman doesn’t fully believe in the cause and justness of the action they are being ordered to take. However, possibly the most difficult part of military life is when it ends. After a lifetime of service, adjusting to civilian life can be traumatic, to say the least. All of these themes and more are examined in Steven Dykes Glockenspiel at Soho’s Tristan Bates Theatre.
Glockenspiel tells the story of the funerals of three current and former members of the American armed forces. Whilst none of the deceased died on active service, they are all entitled to and receive a military funeral. At each, the Defence Department has supplied an Honour Guard (Aruna Jollah and Lolade Rufai) who are there to represent the people of the USA and hand over the flag that was draped over the coffin with the words “This flag is presented on behalf of a grateful nation as a token of appreciation for your loved one’s honorable and faithful service.” The funerals are very different. Single mother Debra (Tolu Stedford) attends the service of her daughter with her friend Yolanda (Laura Asare). Eloise (Katie Glaister) is coming to terms with the suicide of her husband, whilst keeping a secret from her sister-in-law Zinnie (Coren Lawrence) and her partner Assistant Professor Josh (Jon Parry). And finally, Justine (Hebe Renard) the young widow of a retired colonel must face the disapproval of his daughter who blames her for the death of her father. The funerals are overseen by undertaker Andre (Parys Jordon) an ex-military man with demons of his own to face.
To describe Glockenspiel as hard-hitting would be to understate this powerful play that examines so much aside from the obvious military angle to the various people’s lives. I liked the fact that Playwright/Director Steven Dykes actually allowed the audience to see both sides of the argument of the discussion on the need for the military. The writing was also interesting for two other points from my perspective. The first was that all three of the funerals were for members of the BME community – who make up around 30% of the American armed forces whilst being only 22% of the American population overall – and included mixed race relationships both accepted and resented. The second is that the term “War on Terror” was first coined in September 2001 which means that come next year, there will be members of the various military forces taking part in a conflict that began before they were born. Food for thought.
3 / 5
The writing was matched by some equally fine acting from the cast. In particular, I would like to single out Tolu Stedford who was truly outstanding as Debra, trying to hold everything together whilst not really understanding why her daughter had died. Her final lines to Andre and Yolanda moved me to tears as she stood proud and erect forcing herself to go through the social niceties despite her world falling down around her. A truly wonderful performance from a fantastic actor. I also want to mention Aruna Jalloh for his portrayal of a soldier. Whilst not a huge role in terms of lines, the soldier was an almost constant presence on the stage and it takes a lot of skill to be able to be perfectly still yet at the same time be in every scene representing the constant presence – either directly or indirectly – of the military in the life of everyone.
The direction was spot on most of the time and I particularly liked the opening to Act II where the calm, self-possessed and reflective images of Zinnie sitting at the side was a marked contrast to the events happening in the centre of the stage. Whilst I though the set by Justin Williams was interesting, I’m not completely certain I fully understood what it represented and my impressions of it changed quite a bit over the course of the production. The costumes were really great and very appropriate. For once I can’t complain about the uniforms – a real bugbear for me – which looked pretty authentic, though I would advise whoever puts them away to watch how they fold them – a No 1 uniform would never be creased in the way that Carmen’s skirt was.
Overall then, Glockenspiel is a very deep, multi-layered production that is gripping in its writing and presentation. It left me really moved and thoughtful as I considered the plight not only of those that protect us day and night but the other people in their lives for whom the news is not just some happenings in far flung places but in fact something that will have an effect on them forever.
Dawid Minnar Janine Ulfane – Photograher credit Alixandra Fazzina. “Survival of the fittest” is a phrase that originated from Darwinian evolutionary theory as a way of describing the mechanism of natural selection. Which means that even in the most inhospitable of placers, life will find a way – even if at times, you may look and think what’s the point? For example, in South Africa, the aloe plant is considered one of the country’s most powerful, beautiful and celebratory symbols. It survives out in the wild when everything else is dried. At the end of everything, the aloe is still there. And it is this survival that is at the heart of Athol Fugard’s A Lesson From Aloes which has returned to the UK and is currently in residence at the Finborough Theatre. Set in South Africa in 1963, where apartheid is at its height and the citizens are living in a paranoid police state. The play revolves around a middle-aged left-leaning couple – Afrikaner Piet Bezuidenhout (Dawid Minnaar) and hi
Since 1912, the Blackburn Musical Theatre Company has been entertaining the theatre going folks of this Lancashire town with their annual musical production. In that time, they have covered the vast array of musical theatre from their first production - Sunday - through to their latest - Hello Dolly - which I caught at the Blackburn Empire Theatre. Dolly Gallagher Levi (Sue Chadwick) is a woman that likes to meddle, or as she puts it, arrange things. Whatever you need doing, Dolly is the person for the job. And right now, she is the talk of turn of the century New York, having brought together Mr Horace Vandergelder (Kris Wlodarczyk), the well-known half-a-millionaire and Mrs Irene Molloy (Laura Mitchell) a widowed millener. Their engagement and subsequent marriage seems pretty much sewn up though neither is marrying for love. Horace, as he tells his Chief Clerk, Cornelius Hackl (Ryan Coe), and Assistant, Barnaby Tucker (Fletcher Illingworth), is looking for someone to r
Since July 2014, I've seen and reviewed 588 shows altogether. 2017 was a fairly quiet year with a total of 132 shows visited by yours truly. So, in the best traditions of end of the year ideas, here is my list of the top 10 shows that I've seen this year. Please remember, this is my list not anybody else's and if you don't agree with the pick, well, what can I say? 1. Priscilla Queen of the Desert, Bridewell Theatre This story of friendship and hope took two drag queens and a trans woman from Sydney to Alice Springs, in a big pink bus. Along the way, the met new friends and face rampant homophobia. SEDOS brought every element of the show together beautifully, and to a standard that you would expect to see in the West End. Sold out virtually as soon as it was announced, this was the ‘must see production of the year. 2. La Cage aux Folles, New Wimbledon Theatre This is was a touring production of a show that demonstrates the importance of family a
Military life isn’t for everyone. Even in peacetime, it puts a lot of strain on not only the serviceman or woman but also their family and friends. In a time of conflict, that strain gets even more intense. This gets worse if the service man/woman doesn’t fully believe in the cause and justness of the action they are being ordered to take. However, possibly the most difficult part of military life is when it ends. After a lifetime of service, adjusting to civilian life can be traumatic, to say the least. All of these themes and more are examined in Steven Dykes Glockenspiel at Soho’s Tristan Bates Theatre.
Comments
Post a Comment