Theatre Calgary’s The Wars runs until October 7
DETAILS
Max Bell Theatre
Tuesday, September 18 - Sunday, October 7
More in: Theatre
War. It is a thing of the past, of the present, and, undoubtedly, of the future. It has been glorified and satirized. Wars of words, internal battles and personal conflicts are waged everyday. Theatre Calgary’s season opener, The Wars, gives the audience a little bit of all of these, right in the midst of the real thing.
Based on the 1977 novel by Timothy Findley, this theatrical adaptation has been written and directed by Dennis Garnhum, the artistic director of the company and co-produced by The Playhouse Company of Vancouver. To attempt to stage a production set during the First World War without being overpowered by clichés is quite a task indeed, and Garnhum had some big, muddy boots to fill in those trenches.
The story follows Robert Ross, a young man from Toronto who travelled to Alberta for his brief military training before becoming a second lieutenant and shipping off for France. Though accurate details are suggested and displayed throughout, the play is far from a history lesson, and several characters weave their stories throughout the production to provide a balanced view of the time. Between the selection of strong personalities in the story and the fantastic background, the audience can easily make the leap to the 1900s and fill in any gaps with a bit of imagination. Boot camp, barns, trains, trenches, even whorehouses are aptly captured by the simple, yet stunningly effective sets. The powerfully paired-down backdrop, combined with the occasional use of vintage film footage, facilitates the story’s many transitions between memories and action.
Though the focus of the story is undoubtedly Ross, played by Christian Goutsis, compelling characters permeate the production, adding depth and humanity as well as bridges for a modern audience to connect with a part of history that can so often feel far removed. One of these, beautifully portrayed by Meg Roe, is Ross’s disabled sister, Rowena. It is Ross’s connection with and responsibility toward his sister that characterizes his actions throughout the story. Another set of characters that provide emotional inroads for the complex tale is Ross’s parents. The father, formal and stiffly portrayed, pales emotionally in comparison to the mother whose feelings of failure send her reeling into the realm of irrationality and drink.
Though it has been touted as a coming-of-age tale because Ross must quickly adapt to the rank of second lieutenant (given to him because of his family name), as well as to the harsh life that war brings, it seems more like a validation of beliefs he held throughout his life, according to the well-timed flashbacks. One of the most obvious of these is his desire and innate need to protect and nurture the lives of those who could not do so for themselves. His sister is one of these. The horses used during the war functioned this way as well. Perhaps it was the guilt of failing with one that led to the maniacally over-protective behaviour of the others. The timeline of the story is difficult to follow, especially when trying to gauge it by Ross’s reactions to the state of affairs that he finds himself a part of. In fact, it seems more challenging for him to face his inner battles, such as his guilt and his sexuality, then to plough through the trenches in Europe.
The Wars does not play the game of good guy versus bad guy, as so many war-related stories do, and truly does offer a well-scripted look into the humanity of the First World War. Today war can be a touchy subject with many and perhaps that is the reason for the talkback sessions that occur after each performance, allowing for questions and a discussion with the cast and crew. Whatever someone’s stance is on wars waged without and within, there can be no argument that this is a lovingly and respectively staged production.
