Welcome! This is your first free article. Get more free articles when you sign up with your email.

Memorial

“Transcendent theatre”
FacebookTwitterLinkedIn

Never has Homer’s Iliad seemed less like a dusty schoolbook text than in this searing ‘excavation’ by poet Alice Oswald, dramatized so effectively by Australian director Chris Drummond and Brink Productions

Oswald’s Memorial is a roll-call of 215 ordinary soldiers who died in the Trojan War. There are no legendary warriors in this production, just a kaleidoscope of men, women and children swirling around the stage en masse or in small family units. Gathered from community choirs across London, they add their voices to those of the musicians suspended above the stage in a glowing box like celestial beings.

At the heart of this performance is the chronicler, the great Australian actor Helen Morse, who carries the narrative alone for nearly two hours. She’s a small, determined figure dressed in a patchwork burgundy velvet dress: her strong voice brims with anger and pity, then softens with love as she tells everyday stories of these men, be they humble shepherds or rich merchants, and the families they have left behind – ‘somebody’s darling son’ as the poem reminds us. Some of the most beautiful words are reserved for the gruesome details of their deaths – often by a spear through the head, heart or throat.

Woven through the spoken words is arresting music by Jocelyn Pook, performed by a small ensemble led by counter-tenor Jonathan Peter Kenny. Peerless mezzo-soprano Melanie Pappenheim takes turns with Macedonian and Bulgarian singers to fill the silence between the stanzas with songs and wild laments. The elegiac nature of this piece is reinforced by string writing (Pook herself played viola) suggesting Schubert’s Death and the Maiden.

The staging is simple – a wide expanse with a few tufts of grass is transformed by clever lighting into a sunny meadow or a dark, death-filled battle field. The musicians fade from view when the focus moves to Helen Morse and once again the poetry becomes the most important part of this drama.

As a memorial to the First World War anniversary, this catalogue of pointless slaughter could not be more poignant. Clothed in simple poetry and sympathetic music, it becomes a transcendent piece of theatre.

Production Details
Production nameMemorial
VenueBarbican Theatre
LocationLondon
StartsSeptember 27, 2018
EndsSeptember 30, 2018
Running time1hr 45mins
AuthorAlice Oswald
ComposerJocelyn Pook
DirectorChris Drummond
Musical directorJonathan Peter Kenny
ChoreographerYaron Lifschitz
Set designerMichael Hankin
Lighting designerNigel Levings
Sound designerJane Rossetto
CastBelinda Sykes, Helen Morse, Melanie Pappenheim, Tanja Tzarovska
Production managerTess Ryan
ProducerBarbican. 14-18 Now: Ww1 Centenary Art Commissions, Brink Productions
VerdictAlice Oswald’s moving memorial to the casualties of the Trojan War is turned into transcendent theatre
FacebookTwitterLinkedIn
Add New Comment
You must be logged in to comment.
Amanda Holloway

Amanda Holloway

Amanda Holloway

Amanda Holloway

Your subscription helps ensure our journalism can continue

Invest in The Stage today with a subscription starting at just £3.98
The Stage
© Copyright The Stage Media Company Limited 2020
Facebook
Instagram
Twitter
Linked In
Pinterest
YouTube