Review: THE RED CROSS LETTERS – STATE EXTRA Examines WWI Through Individual Stories

Reviewed by Barry Lenny, Wednesday 3rd August 2016

The State Library of South Australia opened their collection of correspondence from WWI that included letters sent to the South Australian Red Cross Information Bureau from people seeking information about relatives serving overseas, and the replies. This correspondence included numerous eyewitness reports, hearsay, and downright incorrect information, and delays were long and frustrating.

The State Theatre Company of South Australia has its main programme each year, but there are other productions on top of the priMary Collection, and The Red Cross Letters is one of the 'State Extra' productions. The project is supported by the Australian Government's Anzac Centenary Arts and Culture Fund and, following the run in Adelaide, the production will go on tour to regional centres around the state.

Verity Laughton was given access to this massive archive and compiled a small selection, covering a few of the South Australian men who went to war, using them as the basis for a performance. These writings are delivered verbatim by the cast: Matt Crook, Lizzy Falkland, Elizabeth Hay, and Rory Walker, under the very sensitive direction of Andy Packer.

Much has been said, written, and televised to correspond with the centenary of The Great War, the War to End All Wars, covering the origin of the conflict, the major battles, trench warfare, the politics, and the military strategies. This takes a very different approach, to allow the audience to connect with that war through the lives and deaths of a handful of diverse individuals, and their families at home.

We all have access to the facts and figures, how many were killed on what date in which battle, the total losses, the maimed and permanently disabled, and the rest. A few may have heard the stories of past family members who took part in the conflict but, often, Will Little real detail. These stories are factual, personal, and open a markedly different perspective.

The four performers portray all of the people involved in the correspondence, the officials, the members of the Red Cross who attempted to trace the soldiers and provide information to their loved ones at home, the family members in Australia, their mates on the battlefield and more. A statement that a soldier was missing or killed in action was not sufficient for those at home. They needed to know how and where deaths occurred and where the person was buried, and they wanted personal effects returned to them.

The wonderful characterisations bring these letters to life and add depth to the stories, investing them with a powerful emotionality the hits home to the audience. These are moving and so often tragic tales of lost, wasted lives. The infantry were referred to as "lions led by donkeys", paraphrasing Alexander the Great. So many lives were lost needlessly through the use of outdated tactics, such as the concerted charge against the enemy, no longer valid against modern armaments. The charging soldiers going "over the top" were mowed down almost immediately by machine gun fire and mortar bombs. Trench warfare, going to and fro over a small section of land, was only ended by the introduction of tanks that could simply drive straight over the top of a trench.

These tales tell of that one bullet, that exploding mortar, that took life after life and left others irretrievably damaged. In the mass of troops moving around to different battles, soldiers were easily lost track of and reported missing, only to turn up somewhere far distant from where they were last reported, often in a filed hospital. These are the stories we hear in this production, told by those involved at the time, thanks to the strong performances.

Geoff Cobham's set and lighting design is augmented by projections designed by Chris Petridis, with live music from Matthew Gregan and musical advice from Quentin Grant. Assorted plain wooden chairs are used to good effect and the projections are onto a large wall at the rear with various rectangles and ovals inscribed; picture frames. Gregan is in uniform and employs harmonica, keyboard, drums, and guitar, with some original recordings of songs of the time also included.

This moving and enlightening production is sure to have people talking for some time as they understand at what cost the war was fought, and how much it affected everybody, not just the warriors in the field.

When the lights came up at the end, nobody seemed quite ready to move or speak and, when they did eventually rise to go, this was the quietest and most sombre audience that I have even seen leaving a theatre. Speaking was in whispers and movement was unhurried. Clearly, the production had profoundly moved the audience.

Regional tour dates.

Noarlunga
Tuesday 9 August, 11am
Hopgood Theatre

Goolwa
Thursday 11 August, 7.30pm
Centenery Hall

Tanunda
Friday 12 August, 7.30pm
Barossa Convention Centre

Port Augusta
Saturday 13 August, 7.30pm
Institute Theatre

Woomera
Monday 15 August, 7.30pm
Woomera Theatre

Roxby Downs
Tuesday 16 August, 7.00pm
Roxbylink

Whyalla
Thursday 18 August, 11am
Middleback Arts Centre

Marion
Friday 19 August, 8.00pm
Marion Cultural Centre

Photo credit: Shane Reid

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