Ceasefire Series makes art, not war
Trio of plays look at conflicts past, present and future to mark centenary of First World War
A century ago, on the 11th hour of the 11th day of the 11th month of 1918, Germany signed the armistice declaring an end to hostilities on land, sea and air. The First World War officially ended.
The “War to End All Wars,” it was erroneously named.
It proved merely to be a more impressive war than those that preceded it in terms of death toll, destructive scope and introduction of killing technologies. There were plenty more slaughters to come.
What did we learn over the last 100 years?
It was a question that Cultch executive director Heather Redfern asked herself when considering how to recognize this significant centenary. Great art has always been inspired by great tragedy.
“It’s a very personal anniversary for me as my grandfather fought in (the Second World War) and my daughter’s great-grandfather fought in both, and even at 102, Remembrance Day was his most important day of the year,” said Redfern. “My mother lived through the Blitz and still suffers some PTSD from that to this day. But we are now in a place, in a generation, where it isn’t very real anymore and I’m a big believer in remembering.”
So the Ceasefire Series was conceived. Featuring a trio of plays — one set during the First World War (Small War), one during the Second World War (Three Winters) and one that could be taking place while your read this (The Believers are But Brothers) — the series exposes war, past and present, and — sadly — future.
“We are so anesthetized to the horrors going on in the world, they are always somewhere over there,” she said. “And I think that one of the few ways that we still have to connect is through the storytelling of the people, or the people’s families, who have experienced the effects of war. So that is why the Ceasefire Series.”
Taken as a whole with a budget series pass, or as individual performances, the trio of works are certain to leave a strong impression on audiences. Appropriately, the first show to open is Javaad Alipoor and Kristy Housley’s The Believers are But Brothers (Oct. 30-Nov. 10, Vancity Culture Lab). Part of Diwali in B.C., this U.K. production takes you into the world of the dark web.
Audiences participate in the play by way of the WhatsApp utility, and will learn plenty about the way online extremism manifests itself into very real acts of violence. Coming as it does at a time when the U.S. is rife with acts of political terrorism from far-right extremists, the play is very timely.
“The most important thing I got out of this play was gaining understanding of how the dark web gets its hooks into people,” said Redfern. “In this case, it’s jihadists, but you can really get how this works across so many different areas and it’s scary.”
Small War (Nov. 6-16, York Theatre) is a creation of Belgium’s Skagen and Richard Jordan Productions & Theatre Royal Portsmouth (U.K.), and is a companion to the hit piece Big Mouth. Using verbatim descriptions from soldiers and nurses in the First World War, the raw human cost of conflict is exposed. A dying soldier from the front, with his nurse, looks back on his life and what warfare has done to it. The show uses projections and stars Valentijn Dhaenens in all roles.
“It’s really a verbatim lament that makes incredible use of technology,” said Redfern. “It’s moving, beautiful and a very special piece.”
Vancouver-based writer and director Amiel Gladstone’s new work, Three Winters (Nov. 7-17, Historic Theatre, The Cultch) rounds out the series. His play is based on the adventures and recollections of his maternal grandfather’s experiences in the Stalag Luft III PoW camp, scene of the Great Escape. It was a running joke in the family that people would ask Gladstone’s grandfather if he had met Steve McQueen, who starred in a fictionalized account of the event.
“My maternal grandfather flew Halifax bombers into German territory and he was shotdown and spent most of the war in the Stalag Luft III PoW camp where he took part in the great escape,” said Gladstone. “He told me stories of being in the camp, and had kept a log book, with various things such as poems, and a list of plays which fascinated me. I knew he and my grandmother had been singers and taught singing.”
What the playwright didn’t know was that his grandfather’s performing life began in the camp acting in the plays the prisoners produced there. According to Gladstone’s relative, it was making art that kept the prisoners alive.
“I became very interested in how much of a statement that was about why we make art and its importance,” said Gladstone. “From there, through various workshops, I got interested in how it was all men acting in those places and decided to reverse it to a cast of all young women. They aren’t used to playing war heroes anymore than my 22 year-old grandfather was in his PoW situation.”
Three times in history, three wars, three stories and a 100-year anniversary to pay homage to and learn something from. The Ceasefire Series pauses to reflect on more than just empty slogans and “never-again” admonishments. It’s too late for that, but it’s never too late to remember, learn and think moving forward.