Being the centenary year of the outbreak of World War One there are an abundance of war related theatre productions gracing the stage and vying for prominence.It is equally important that plays such as War Correspondents dealing with contemporary issues of war are not overlooked.
In an age of instant media a constant barrage of war related issues bombard our consciousness through its intermediaries – the journalists. This makes War Correspondents particularly timely. Taking as its premise the story of five foreign reporters, the figures behind the military front lines who endanger their lives to report the news and provide a vivid portrayal of countries most of us would fear to step foot in. It uses a multi-faceted approach combining poems, capella songs, interviews and choreographed music, dance and movement to try to convey the lives, fears, dilemmas and the unique position these particular journalists face in theatres of war.
Created by the composer Helen Chadwick and the Olivier Award winning choreographer Steven Hoggart this is the second ‘song theatre performance’ (after Dalston Songs). Chadwick and the show’s designer, Miriam Nabarro spent six years interviewing war correspondents, including those reporting the hostilities in Bosnia, Afghanistan, Chechnya, Liberia and Iraq. Taking these testimonies as a basis, a cast of five actors weave a rich tapestry through movement and music, in front of a sparsely decorated stage whilst effectively using a collection of the recorded interviews as a backdrop to the action. The physicality of the performances and an acerbic wit conveyed through the music prevent it from descending too far towards the sombre, however with a density of material bombarding the viewer at points it becomes difficult to follow.
Powerful but austere in its composition and production, the handling of such a difficult subject is well done and at certain points Chadwick produces something quite exquisite ‘shin[ing] light into dark places’. As an intense and acute observation of war its message ‘if we keep telling the truth, it will be better for us all’ is both thought provoking and fitting, yet its small scale production and its uncompromising approach mean that it will probably only appeal to a niche audience and its message might not be heard. ★★★★☆ Philip Smith
Co-commissioned by Greenwich + Docklands International Festival, Sage Gateshead and New Writing North. Supported by Birmingham Repertory Theatre
