Review: WAR HERO at Stagecraft Theatre

This is a play that will linger in the mind long after the curtain falls.

War Hero is a stage play by New Zealand playwright and actor Michael Galvin, based on the life of Archibald Baxter, one of New Zealand’s most significant conscientious objectors during the First World War. Adapted from Baxter’s 1939 memoir We Will Not Cease, the play documents his uncompromising pacifism and the extreme punishments he endured for refusing military service.

Set primarily between 1916 and 1918, the drama follows Baxter’s refusal to comply with New Zealand’s conscription laws during the Great War. Unlike some objectors who accepted non‑combatant roles, Baxter rejects all participation in the war, believing that any cooperation legitimises violence. As a result, he is subjected to imprisonment, physical abuse, and ultimately forced transportation to the European front.

This production marked the world premiere of War Hero, and we were privileged to see the play for the first time. I suspect it will remain relevant for many years to come. As society has shifted, and as more people today question the morality of participating in conflicts on the other side of the world, the story feels increasingly resonant. Parallels with current global events are impossible to ignore.

The set (designed by Murray Lynch) is deliberately sparse: a few black boxes, two black poles, and bench seating positioned on either side of the stage. Once the actors enter, they rarely leave, instead sitting on the benches when not actively playing a scene. This choice keeps the performers, and the ideas of the play, constantly present.

The production is confidently directed, with Murray Lynch drawing excellent performances from his cast while trusting the audience to use their imagination to fill in locations and transitions. Only the actor playing Baxter, Daniel McClymont, remains in character throughout. The other four actors, Zachary Klein, Tom Kereama, Phil Peleton, and Martin Tidy take on multiple roles, shifting physicality and vocal quality so each character is distinct. It is expertly executed.

This is not an easy story to watch. The depiction of Baxter enduring Field Punishment No. 1 is harrowing; the scene is so carefully built by the director that it becomes genuinely uncomfortable to witness. Equally confronting is the beating Baxter receives in the second act, administered by Phil Peleton’s character. From the front row, it was clear that punches and kicks were making physical contact, lending a shocking realism to the moment. Full credit must go to fight choreographer James Kiesel for staging this safely while retaining its visceral impact.

While the acting was strong across the board, three performers stood out for me: Martin Tidy, Phil Peleton, and Zachary Klein. Wellington is fortunate to have community theatre performers of this calibre.

Lighting design by Mike Slater was very effective, particularly the final fade which silhouetted the characters in a memorable image. The sound design by Chris Ward was equally assured, with clean execution and no missed cues.

The show felt remarkably tight for a first outing. It played like a production that had already been running for several weeks. Although much of the material is difficult to watch, moments of levity were thoughtfully placed and warmly received by the audience.

This is an important story, and it has been told with care and integrity. Galvin’s script is excellent, and it is delivered with conviction by a more than capable cast. This is a play that will linger in the mind long after the curtain falls.

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