‘A wonderfully affectionate feel’: Privates On Parade – Union Theatre

In London theatre, Musicals, Opinion, Reviews, Ticket recommendations by Ian FosterLeave a Comment

Union Theatre, London – until 17 December 2017

“Everyone knows it’s the start of the Third World War” … Written in 1977 about events in 1948, there can be a temptation to dismiss the campery and dated gender politics and racial stereotyping of Privates on Parade as outdated and offensive. An argument could be made – and it is one that I have made myself before – that such notions need to be interrogated and challenged by productions. But equally, when the writing is intelligently nuanced and the direction sensitively done, audiences can be left to do this for themselves.

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And so it is – I find – with Peter Nichols‘ play with songs, presented here by Kirk Jameson at the Union. Take the time to delve beneath the surface and you’ll soon see there’s incisive commentary about the insidious nature of colonialism, about the personal freedoms that can be explored when released from the social strictures of home, about the contemporary lack of opportunities for women, about how war is an equal opportunities offender when it comes to shattering happiness, whether gay or straight.

Front and centre here is Simon Green‘s inimitable Captain Terri Dennis, leader of the Song and Dance Unit South East Asia (SADUESA), a British army entertainment corps stationed in Malaya at the end of WWII as the army tried to reclaim the country in the name of the Empire. Revelling in the club-like intimacy of this theatre, he nails the flirtatious nature and fierce integrity of a performer, of a man, seizing his hard-fought opportunity to be his authentic self.

And as the personnel around him, he’s supported by a game and enthusiastic ensemble who maintain a cracking level of energy. Paul Sloss‘ delightfully gormless Brummie Len is a peach of a performance, delicately moving too in the subtle romance that has developed with Tom Pearce‘s (a mean pianist here) Charles. Callum Coates‘ clipped officer Flack is particularly good in delivering his ‘letters home’, and Martha Pothen, as the mixed-race Sylvia, is a vital presence that doubly questions contemporary attitudes to race and sex, as well as probing notions of responsibility.

Musically, Nick Barstow keeps Denis King’s pastiche-heavy score feeling lively, Mike Lees’ design works well within the space to create an appropriately homespun feel, and Ben Jacobs’ playful lighting allows for some moments of real visual grace, especially in the performance numbers. Above all, Jameson ensures there’s a wonderfully affectionate feel for the piece here which works wonders. Recommended.

Running time: 2 hours 20 minutes (with interval)Photos: Headshot TobyBooking until 17th December

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Ian Foster on Twitter
Ian Foster
Since 2003, Ian Foster has been writing reviews of plays, sometimes with a critical element, on his blog Ought to Be Clowns, which has been listed as one of the UK's Top Ten Theatre Blogs by Lastminute.com, Vuelio and Superbreak. He averages more than 350+ shows a year. He says: "Call me a reviewer, a critic or a blogger, and you will apparently put someone or other's nose out of joint! So take it or leave it, essentially this is my theatrical diary, recording everything I go to see at the theatre in London and beyond, and venturing a little into the worlds of music and film/TV where theatrical connections can be made."
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Ian Foster on Twitter
Ian Foster
Since 2003, Ian Foster has been writing reviews of plays, sometimes with a critical element, on his blog Ought to Be Clowns, which has been listed as one of the UK's Top Ten Theatre Blogs by Lastminute.com, Vuelio and Superbreak. He averages more than 350+ shows a year. He says: "Call me a reviewer, a critic or a blogger, and you will apparently put someone or other's nose out of joint! So take it or leave it, essentially this is my theatrical diary, recording everything I go to see at the theatre in London and beyond, and venturing a little into the worlds of music and film/TV where theatrical connections can be made."