Through These Lines

Company: No Rest for the Wicked/The Tunnel Project
Venue: Defence Tunnels, Headland Park, Mosman
Dates: 30 September – 24 October 2010

A captivating and sincere look at the struggling lives of those who experienced severe heartache, loss and trauma whilst living and working through World War I is now showing at Mosman’s Headland Park. The military heritage site is the perfection location to showcase this gripping drama by writer and director Cheryl Ward. Not intended for those with a penchant for tears or claustrophobia, Through These Lines is a brutal and harrowing tale that will move some, sadden others, but definitely stay with you well after the shows end.

Ward’s idea for a depiction of the inner thoughts of WWI nurses came to her after spending some time in the very room it is being presented in. Used once as a storage facility for ammunition, gunpowder and fuses during the war, the barracks are now on display for all and are apparently becoming something of a theatre venue. Feeling dismayed by the fact that she knew so little about the lives of working nurses, Ward decided to base her play on the journals, letters and accounts of real life heroes.

The Tunnel Project production is unlike any experienced by theatre goers. For one thing, many of us are not used to being comforted by a pre-show assurance that all of the crew members are well aware of what to do in case of an emergency such as the roof caving in. Leaning too heavily or touching anything on the walls is also discouraged as these might also give way at any moment. The small group of participants, myself included, eyes wide with anticipation (or perhaps fear) were pleasantly surprised to find a perfectly edible, and not to mention fitting, selection of Toblerone chocolates and Anzac biscuits available at our destination, thus beginning a night complete with authentic staging, costumes, direction and above all memories.

Having most of the actors performing more than one role is a risky manoeuvre, although given the select amount of space available we can see why Ward chose to only cast a select few. The main character, Sister Florence Whiting, played by Coralie Bywater keeps the action vivid by leading the audience through a courageous, stoic and almost unbelievable few years working as a WW I nurse starting from the French-Belgian border in 1918. Meeting fellow nursing aids (Mairead Berne) and matrons (Lucy Miller) along the way, Sr Florence details her overwhelming, tormenting and at times romantic journey by reading aloud the pages of her diary. Long working days, unbearable temperatures and working conditions did very little to discourage Sr Florence who acted as a tribute to all those valiant nurses who gave up their lives to help others. Even though prepared for an unsettling night, audience members found it hard to hold back tears and gasps as the reality of one of the world’s most horrific moments hit a little too close to home for some.
Coralie Bywater’s portrayal is convincing but at times empty. Mairead Berne is the epitome of a timid nurse trying to save the world one soldier at a time. Lucy Miller dominated the space in every one of her scenes as a vigorous matron trying to keep all her staff in one piece.

Adding a few dabs of testosterone to the mix is Captain McLean (Pater Hayes), Private Harold Jenkins (Sebastian Lamour) and Lieutenant Roland Davies (Johann Walraven). Starting out in specific roles before embodying varying Captains, soldiers and patients these three performers are sharp, boisterous and at times extremely comical. Newcomer Sebastian Lamour was a surprisingly comical and playful addition. Peter Hayes unfortunately led the action astray on more than one occasion, but was brought up to speed again by Johann Walraven. Walvern’s precise dedication and variation at playing multiple characters is a brilliantly perfected art.

Sitting practically centimetres away from the performance in a make-shift theatre in the round, audience members could literally see the sweat and experience the tears for themselves. Stage designer Tom Bannerman uses what little space there is (and believe me there is very little!) and manages to maximise it into a working stage that is both realistic and simplistic. There is no better way of describing it than virtually sitting in a war-bunker. Lighting designer Spiros Hristias mixes effective lighting and projection techniques together to create a diverse amalgamation that stirs the action, without taking too much attention away from the story. As it is to be expected from a war-bunker, no light switches or curtains are on hand to accompany the performance; however, this creative crew make do with what they have and manage to control everything from one corner of the room. Techno-savvy, Engie Ho keeps the pace and action running smoothly with swift, simple clicks on a Mac computer as the stage manager/lighting and sound operator.

Through These Lines is the most vivid live World War I performance seen in years. The authenticity of the location, the costumes and the dialogue will grab the audience’s attention and emotions right til the very end.

Haylie Pretorius