THEATRE REVIEW: S.O.E. - Front Room, The Assembly Rooms, Edinburgh.

In this abridged version of the full length play, we are taken back to a time when espionage and secrecy were the keys to success in turning the tables in our favour during the second world war. There was a military branch, the S.O.E (Special Operations Executive), brought together for that express purpose. 

This is the story of one of the trainers, vera Atkins (played with 1940's military poise by Deborah Clair), and one of her female recruits, Noor Inayat Khan (performed by Natasha Jayahendry making her professional debut with this production). We watch as this new but skilled and enthusiatic recruit is put on a plane for her native Paris, and we watch as her story unfolds, her training coming in to play as she sends communciations back to base, meets her contacts, and tries to evade capture, which would lead to torture and almost certain death. 

There is much to admire about this production, which is directed by Dominique Gerrard with confidence. Costuming and set design give an air of authenticity - especially the suitcases and radios / transmitters. However, the directing gives mixed messages... some of it extremely realistic and dramatic, whilst, later on it becomes more fanciful, non-realistic and artistic, using the set in creative ways and a long length of rope (ostensibly a microphone for the radio) forms a metaphorical spider's web. 

We miss much of the grounding and back-story of this play, perhaps because it has been shortened for the Fringe, and this version leaves too many unanswered questions. It also has a strong hint of lesbianism between the two cast members, whether intentional or otherwise, it isn't clear. The ending is also most unclear sadly, and I left the auditorium confused, my questions left hanging in the hot atmosphere of the theatre. 

Reviewer - Matthew Dougall
on - 24.8.22