INTERVIEW | Harry Curley, Oh What A Lovely War

Interviews

15 Feb

Blackeyed Theatre’s critically acclaimed revival of Oh What A Lovely War is currently on a 2024 tour to mark its 60th anniversary. Joan Littlewood’s epic anti-war musical shows a hilarious, heart-breaking snapshot of life for those caught in the crossfire of conflict, the unanimous voice from the trenches and a timely warning from the theatre of war itself. Part of that tour is Harry Curley and we caught up with him to find out more.

1. Since you graduated two years ago you’ve worked on a couple of shows including Once at the Barn Theatre and now you are touring in the revival of Oh What A Lovely War! How have you adapted to professional life?

I feel so lucky to have graduated from drama school and find myself navigating the industry. My first job was at the Edinburgh Festival with an actor musician show called Caligari. It was a brilliant first job to transition to from training. It was with several of my course mates, and I was able to work with fantastic director, Lucy Betts, who directed my second year production of The Tempest. As well as finding myself in my first professional rehearsal room, the hustle and bustle of the Fringe wasn’t too dissimilar from the pandemonium of drama school frivolity.

Since then, I’ve experienced regional theatre at The Barn Theatre, Cirencester performing in Once, the brilliant actor musician show with music and lyrics by Glen Hansard and Marketa Irglova. From the Barn, I have had the sheer pleasure of being a part of this 60th anniversary production of Oh What a Lovely War.

Touring life brings so many joys. I am able to visit beautiful parts of the UK that I may not have visited otherwise unless for work. Also, I feel that with life on tour we are closer as a company as we navigate highs and lows that aren’t applicable to shows that stay in one place.

One of the hardest things about touring life is leaving family, friends and partners behind - and the dog. I’d love to take them all with me but I am so excited to go home and share with them all of the life-long memories I have made on the road.

2. This production of Oh What A Lovely War marks the 60th anniversary, has the writing stayed true to the original or does this revival present something new do you think?

Oh What a Lovely War is a timeless anti-war piece, that reverberates through history - in my opinion - predating World War One. It would be reductive to contribute the tragedy of war to the human condition and I think that the show doesn’t agree with that sentiment either.

The show has had longevity since its inception in 1963 and I think as well as its message that is down to the genius of Joan Littlewood and the Theatre Workshop. I think we have only extended the ideas of the original piece by harnessing the original creative premise. Namely, we have zeroed in on the idea of the pierrot. The design of our show is channelled through the idea of circus and we use clown in design and characterisation to extend the idea that war itself is a circus.

The main difference with our show and those that have predated us is that ours is an actor musician show. We have six cast members playing a myriad of roles - usually the show is played by around 12 - 15 actors. As well as this, we are playing all of the music and sound effects in the show. I think that the actor musicianship augments the authenticity of the show and shows the simple journey that lots of the characters are on - we make the music ourselves and often this was the case in the trenches.

3. What is Oh What a Lovely War about?

‘Oh What a Lovely War’ is a satirical concept musical that was devised by Joan Littlewood’s Theatre Workshop premiering at Theatre Royal Stratford East, in 1963.

The show ridicules the apathetic and incompetent leadership, from the political and military elite of the First World War - including figures such as Field Marshall Sir Douglas Haig and Sir John French. However, it is impossible to look at the show’s derision in isolation, and it is hard not to draw uncomfortable parallels to our own society today.

The show begins during the pre-war period and nods to the unstable and precarious political relations, in Europe that led to the Great War. With a rise of nationalism and militarism, events turn quickly, and global conflict erupts. The action meanders through the whole four years of the war and visits a plethora of nations, characters, and historical moments. Although informative, the show is incredibly frivolous, and there is a huge sense of fun as it critiques and lampoons the ‘war to end all wars’.

4. Do the songs feel poignant?

Audiences will know many of the songs in the show, as they have found their way into our pop culture and history. Songs include: Pack Up Your Troubles, It’s a Long Way to Tipperary, Hush! Here Comes a Whizzbang, to name but a few. The songs, mostly penned by the soldiers themselves are a mouthpiece for Joan Littlewood’s satire: their irony is both witty yet disturbingly sharp. I like to think the small ensemble orchestrations share the same can-do, make-do attitude of the lads in the trenches.

5. Is there importance in seeing a show like OWALW?

The brilliant thing about the show is its strong satire. Often, I think we can be desensitised to huge problems going on in the world. I often find myself glued to my phone or television screen trying to expose myself to the news; however as much as we’d like to engage ourselves day in day out with current affairs, it can be difficult - as the state of things is so miserable. I think satire is a healthy way to analyse and be critical of the world, history and the future. Oh What a Lovely War is a very fun show to be in and also watch - it’s irreverent and humorous. It is shocking and teaches so much but in an open and frank atmosphere. It makes it a whole lot more engaging and I think may lead to more reflection on such important subject matters.

6. Who do you play?

This show is a brilliant challenge. We all play at least 20 characters each. The advantage of a small cast is that both us and the audience are excited to see what we will do next. The show takes place in nearly all of the big playing countries of the war. We all have fun with accents and ages as well as incorporating our musicianship. One of the roles that I reprise is that of Sir John French, one of the leaders of the British Army in the war - a selfish business-like Field Marshall who has a mix-up with French generals and shallow verbal bouts with Sir Douglas Haig - both men of unbridled and misguided pride. I particularly enjoy playing the Drill Sergeant, who yells in gibberish whilst leading the rifle drill and bayonet lunge – it is madness!

7. Is there a moment of significance to you?

From the outset, the show uses projection and a selection of news panels that give a background to the action. There are uncountable moments of shock and awe that they include and when incorporated into the action. It’s the bedrock of why we do the show - the statistics that are projected in the show are tragic. One of the more poignant moments for me in the show is when the character of Nurse sings, ‘Keep the Home Fires Burning’ and the statistic preceding reads, ‘Life expectancy of a machine gunner under attack - four minutes’.

8. Why should we see OWALW?

If you come and see the show you will laugh a lot and you will learn a lot. The comedic pace of the material means there are constant laughs but also deep moments of pathos. The vignette structure of the show gives a huge overview of the conflict and we meet so many of the stakeholders. A show on that scale is so fun to be a part of we love taking audiences with us this maze of chaos, humour and reflection.

Catch Harry in Oh What A Lovely War, on a UK tour until 15 May 2024.

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