Printable CopyALL IS CALM: THE CHRISTMAS TRUCE OF 1914
Promise Adelaide
Goodwood Institute Theatre
Until 23 Dec 2017

Review by Anthony Vawser

Is war ever avoidable? Given that it seems to keep happening somewhere in some form, this sort of question is likely to lead one down a philosophical rabbit hole from which there may be no exit – and that’s without even delving into the issue of whether war can ever truly be justified. More useful, perhaps, to be reminded that peace and resolution, however temporary they may turn out to be, are actually achievable. The ‘Christmas Truce’ of WWI is proof that goodwill and common humanity can run stronger in an army’s blood than the urge to kill or the willingness to follow protocol.

Under the direction of Paul Reichstein, Promise Adelaide’s production of Peter Rothstein’s “All is Calm” provides a most welcome and timely example of the good that can flourish in the middle of the direst circumstances. It is also an encouraging reflection of the high-quality talent to be found on the stages of this city.

In both style and tone, this piece takes a number of chances, with its largely hushed, mournful atmosphere, its colour scheme ranging mostly from black to beige, and the terrible tragedy of its setting (not to mention a modern-day framing device that borders on feeling unnecessary and stilted) – but the spirit of the show absolutely honours the past achievements of like-minded artworks such as “All Quiet on the Western Front”. What could potentially have been a history lesson crossed with a funeral service is decisively much more than that.

What helps most in making it so much more is the music. With MD Trevor Anderson presiding over excellent arrangements by Erick Lichte and Timothy C. Takach, the bracing selection of period songs is stunningly performed by the cast without benefit of any instrumental accompaniment whatsoever, and the voices are richly beautiful without ever sounding too polished. Virtually the entire ensemble cast convincingly communicate the correct time period with their accents, body language, and general demeanour.

Reichstein’s staging is both evocative and naturalistic in turn; he has successfully directed his cast to juxtapose moods of bawdiness and devotion, resulting in a show with the necessary amounts of dynamism and humour. The lighting plan is artfully striking, visual projections are brilliantly selected and skilfully deployed, and the on-stage mist is superbly achieved, though sound effects seemed less-than-fully convincing on occasion.

Some may feel dissatisfied in seeing that the true horror of battle conditions is relatively muted here, but it should not be difficult for even the most demanding audience member to go with the flow of this rather marvellous show. It was, however, intensely challenging for this reviewer to abide by a pre-show request for the audience to refrain from applause until the very end, such was the quality of performance on offer and the gratitude that one felt to experience it.