Review by Adam Smith at the Union Theatre

While the political and moral merits of the so-called war on terror still inspire fierce argument, one gain is undisputed: the controversial conflicts in Iraq and Afghanistan have produced some of the last decade’s finest art. From award-winning films to outstanding novels, the war has inspired countless cultural interpretations. Added to that list is this outstanding cycle of short plays by two different writers.

Fringe theatre can find it tricky to pull off aggressive political drama – hire the wrong actors or fail to strike a clear tone and things fall apart – but Cheekish Productions has done a fine job with this piece of work. Four young actors portray unconnected characters across all six short plays, shifting instantly in style between each. It is somewhat of an adrenalin rush to see them become new characters at the flick of a switch. But while it could be a challenge to stitch these contrasting pieces together in fact they join effortlessly thanks to the clear, unwavering writing.

The dialogue in the first short comes as somewhat of a surprise. An interrogation of an Iraqi woman by a British soldier makes for a startling opener simply because of the extreme emotions it invokes in both characters. The words spit fast from their mouths as they argue over the morals of the war. At times the dialogue slips too easily into conceptual arguments– particularly disappointing when we’re already fed up with hearing “freedom and democracy” too many times from politicians – a criticism which could extend across the entire cycle. While that may be seen as doing a disservice to the play, it could be a carefully crafted mechanism. After all, one way of exposing how freedom and democracy have become political problems, even for their proponents, is to shout the terms repeatedly. Nothing undermines those concepts more.

And it is logical to treat them in such a way in the opener, which is hyper-real, even absurd. In the heat of the tense dialogue between the citizen and the soldier it is hard to see how portraying them with exaggeration is effective. But, on reflection, it is clear that Mark Ravenhill views the war in Iraq itself as absurd, as placing Iraqi civilians and allied forces in ridiculous situations, and so it is more than apt to dramatise this with hyper-reality. The only way to expose the war’s atrocities, thinks Ravenhill, is to exaggerate them. That makes for a bold opening and certainly sets the tone for the entire cycle.

The finest of Ravenhill’s three is his second, in which the characters play out the our reaction to home-grown terrorists. Combining the domestic setting with the aggression of our security forces is incredibly powerful. This play is the most dynamic, as one character is forced into adopting opposing positions. This would have made her authentic dialogue almost impossible to pull off and her portrayal on stage even harder, but the actor holds it together perfectly.

Eschara is certainly the work of a different writer, but it is no less aggressive or shocking than Ravenhill’s work. Playwright Phillip Whiteman has crafted a more intimate argument, not necessarily just against the war on terror but the deep effects it has had on individual people in society. The cycle elaborates on moments of pathos related to the July 7 London bombings. “Sometimes I wish I had died,” murmurs one survivor. It is a stark reminder that although the deaths of this global conflict are horrendous, thousands if not millions of people connected directly to the deaths are trying to conduct their lives despite having witnessed horrendous violence and political upheaval. The final piece in Eschara is the best of the entire production. A tender portrayal of family, grief, loss and – ultimately – life, the play is delicately crafted and expertly played. Some lines are enough to induce goose bumps as two sisters argue through their mourning. The actors feel genuinely like sisters, their tenderness and rage balanced perfectly.

When the cycle is over, one staggers from the little Union Theatre as a victim of violence. The resounding impression is one of rage: that whatever the political moral behind the ongoing conflict, the violence is disgusting and worthy of intense fury. This is a shocking, exhilarating experience not to be missed.

Fringe benefits

With an audacity characteristic of the London fringe scene, this cycle of plays offers thrills like no other. The dark intimacy of the Union Theatre is perfect for a production that grabs you by the tender bits and doesn’t let go till the final, heart-stopping black out.

Shoot/Get Treasure/Repeat by Mark Ravenhill

and

Eschara by Phillip Whiteman

at the Union Theatre until 24 April