Theatre Review: The Accrington Pals, Theatre 62

The Accrington Pals is one of the battalions created early in the First World War and formed, at Lord Kitchener's suggestion, of groups of friends, neighbours, etc from the same town.

This tale follows the lives of four of them and relies heavily on the central character, May. Running a fruit and veg stall, little of the goings-on in Accrington escape her and Janet Sharrock brought all the sides of her nature to life whether it be her business, her longing for romance or her care for others. Like all the cast, the Lancastrian accent was comfortably and realistically delivered and her emotions at the end of the play when she realises she has lost her love, are heartbreaking.

Rod Chambers is Tom, her love, contrasting the gung-ho attitude of untouchable youth off to war, with the scenes of reality and eventually, death. His friend Ralph is luckier in love having found the generous Eva. Ian-Paul Munday and Sian Elliot as the couple spark well off each other with Eva pushing aside the era's strict relationship rules to help bath Ralph in a scene using one of the show's excellent props. Congratulations to the props trio who sourced such things as the handle-operated Singer sewing machine and dolly pegs.

The little family of Arthur, Annie and their son Reggie sent Arthur off to war with one of his prize homing pigeons. Alec Raemers' Arthur, a religious man, captured the reluctance to fight weighed against supporting his friends whilst Viki Redgrave as Annie brought out the character's nervous disposition and her hysteria when the pigeon returns signifying Arthur's death.

Too young to understand that war has its dark side, James Appleyard made Reggie a madcap who visibly grew up at the end of the play.

Lighter touches came from the effervescent Ruth Alyward as Sarah; a practical fun-loving young lady saddled with motherhood before her high spirits had settled. Down-to-earth and affectionate, she is a true friend to Eva and to Bertha, gently played by Rachel Cormican. Simon Waterfield was the understanding and less than austere CSM Rivers who promised May to look out for her Tom and whose speech as a dead man brought more emotion to the production.

Adrian Pope's excellently workable set made the many scene changes slick; Andrew Herbet's lighting did much to create the right ambience and Eve Stone gets double credit for empathic direction as well as achieving wonderful costumes as wardrobe mistress. The era's music was liberally used and John Gutteridge and Graham Copeland deserve a mention for their attractive and informative programme.

Theo Spring

5 stars