Polyphonic and polylingual. Re-creation of First World War
explores horror and common humanity
5/5
The polyphonic production of Front, by Hamburg's Thalia Theater
and the Nederlands Toneel Gent at the Royal Lyceum - directed by Fleming Luk
Perceval - is a truly impressive and moving performance. Lasting two hours
without an interval, and performed in Flemish, German, French and English
(English sur-titles allow us linguistically-challenged to appreciate it) it
doesn't sound like something that is immediately accessible. But the pared-back
set, the use of a backdrop of monochromatic images from the front, the noise of
the collected thunder sheets hanging on stage all combine to evoke the
horror.
Taken from a selection of scenes from both Erich Maria Remarque's
All Quiet on the Western Front, and Henri Barbusse's Under Fire, the narrative
circles the opposing front lines - represented by the lines of cast members
along the front of the stage. It gives us the full perspective of the
sufferings both in opposing trenches and on the home front. While actors spin
like dervishes in an assault, the noise rises to a crescendo. Incongruously,
yet entirely believably, a moment of romance between a nurse and a wounded
soldier counter poses a spark of life amongst the destruction (although the
future of that life is shadowed by the fate of the soldier). Above all, the
characters of the young friends condemned by their fates to land in the hell of
the First World War highlight the reality of this 'war for fatherland and
freedom'. As one says, they are not soldiers, just civilians imported to the
front.
I've seldom seen a production that evokes the trauma of killing.
The horror of the impact of weaponry on bodies, both human and animal, is
somehow more effectively portrayed by the flat, emotionless delivery. If you've
a chance in Edinburgh today or Tuesday, go. You'll be gripped for the full two
hours.
Front, 7.00pm until 26 August, Royal Lyceum Theatre,
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