American satirist Tom Lehrer was once heard to say that The Second World War produced many hit songs, although it wasn't primarily a Musical. This on the other hand is primarily a Musical and based on a true event in the First World War. With the centenary commemorations of the Armistice only a day or so away, it seemed like the perfect time for companies up and down the whole of the UK to produce pieces of theatre to coincide with this. I have seen quite a few already, and have still many more to see - however 'Trench' remains the only Musical.
I have only seen this company - North West Theatre Arts Company - perform once before, and that was in Oldham at The Grange Theatre. This evening however, I found myself in a totally unknown suburban part of north Manchester in a converted small factory building which NWTAC have made their base and home for the past few years. From the outside it looks unwelcoming and unprepossessing; however, once inside it is a little like Pandora's Box or Aladdin's Cave and you are assured of a warm welcome.
Trench is a new Musical with music by Ross Johnson and the book and lyrics by NWTAC's owner Prab Singh. In fact it is Singh's grandmother-in-law who was the inspiration for this show, and it is her story it tells. Or rather, it is the possible story of her fiance out in Flanders that occupies majority of the narrative. The Musical pulls at our heartstrings and delivers several lump-in-the-throat moments, but I don't think the writing is a strong as perhaps it could be. The main reason for this is that we already know the ending of the story before we start. The programme tells the whole story, as indeed the first scene - set in the 1960s - also gives away the plot and end. We are all aware of the horrors of trench warfare and this no longer has shock value alone, and so making it a personal story of love makes it more poignant. However, if we already know he doesn't survive then this too is not going to shock us thus weakening the power of this show, which does have I truly believe, potential. It is a strong and relatable story - a story of human, humane and inhumane proportions with some lovely lines (even some lovely use of humour) and a complementary music score.
The stage used a single composite set which doubled as the back yards of a lower class residential district of Manchester as well as the front line trenches. It was simple but effective and the use of a plain syc cloth at the back and pertinent lighting, sound and smoke effects - this worked excellently.
The music, played on a keyboard sounded right - the story didn't need the fuller orchestrations. The lyrics were heard more clearly, and at no time did the music feel forced or out of place as it might have done had it been fully orchestrated. The costumes in general were very good, although the female ones looked more authentic than the male. Just a concession of military garb rather than full uniforms were worn, and wooden cut-out guns used. This actually worked far better than I expected they would, and in retrospect actually think this was the correct choice to have made for this space and company.
It is always incredibly difficult to review an original work, since there is no yardstick from which to base the production on and therefore no expectations other than the company's reputation. I needn't have bothered worrying though about the quality of the acting, as this was wonderfully secure and sincere from all involved. Liam Watson played our protagonist Ted with a certain maturity rarely seen in a teenager. His stoic and yet passionate responses to the horrors around him and his resolve to make it home to apologise to his fiancee were excellently measured and very real. Kate Bannister as his sweetheart Mary (Singh's grandmother-in-law) was no less a performer either. Their love was totally believable and her heartbreak at the end had the whole audience in tears too.
It was a large cast and so it would not be possible to mention all by name. Suffice to write that there wasn't a weak-link in this solid and talented chain. I will however, just give a couple of 'special mentions' if I may. First, to Poppy Evans, a very young but obviously gifted actress who so plaintively played Anna, the young daughter of the sub-plot principals Peggy (Melissa Grimes) and Tom (James Valentine) Both Grimes and Valentine gave sterling performances - Valentine growing from a young impetuous lark-about to a battle-scared and embittered soldier perfectly. The second person to mention is Adam Whitmore who played Andrews. On his first entrance and conversation with the vainglorious and pompous General (Jonny Molyneux) I have to admit to not particularly thinking much of his character. It was only after watching his second entrance and seeing the worm turn that his first entrance made sense and his character was complete and superbly marked.
There is no doubt that this is a company of some very proficient and talented youngsters and I felt privileged to have watched their faithful retelling of a sordid and bloody part of history which needs remembering in the hope that such an atrocity will never occur again. Thank you all for allowing me to be emotionally challenged and to share this story with you.
Reviewer - Matthew Dougall
on - 8/11/18
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