Immortal

Etcetera Theatre

Luke Robins-Grace

You would be forgiven for thinking a fringe play about a World War II bomber crew would have a fairly eclectic take on events. World War II drama has been so overdone, surely a surreal interpretation would be the only way for a fringe production.

Surprisingly, Immortal is fairly straightforward and deals with exactly the themes and issues one might expect - camaraderie, fear, loss, humour and courage.

A Lancaster bomber crew is shot down over Holland and takes the injured co-pilot to a deserted school building to evade capture by the Germans. To keep their spirits up and stay warm they banter and role-play through the night.

So what was the point of doing yet another World War II drama? Even writer Ciaran McConville acknowledged WWII has been 'done and done and done again'. But simply put, this is a well-told story about a group of ordinary boys, scared out of their wits by circumstances beyond their control.

McConville says the play started life as a comedy in the style of Biggles. While he is glad that is not how it panned out, the humour used to break the tension is confident and lucid. The natural, jocular bravado made the audience forget about the imminent German threat, which was, one supposes, the whole point. One of the crewmen complains about a problem with his 'twanger' after a rough parachute landing which quickly throws up a timeless pun about it getting caught in some Dutch bush.

Director Luanna Priestman was clear about wanting to lead with the dialogue. 'I didn't want a costume drama but rather a timeless play about five young men and the extremes they face as comrades', she says. (Mission accomplished - the costumes were in fact so basic they initially suggest a deliberately affected interpretation, darling.)

'This', says Priestman, 'seemed the most effective way to highlight Immortal's relevance to the current climate of war'. But the play bears no obvious relation to the anticipation of present day conflict. Priestman was right first time round, the play is better understood as a portrayal of young men in incomparable circumstances.

Despite the war-time setting, McConville made a conscious point of not becoming philosophical about war itself. 'We didn't want to moralise', he said. Despite a brief sense of disapproval of Flight Officer Campbell (played by McConville) for dropping his bombs too early, there is little handwringing.

After a slightly nervous start, the cast delivered convincing and moving scenes. Dicky Dixon, the barrow-boy, volunteer type, diverts the crew with a series of skits on life back in Blighty. As he and the American captain, Cliff Blake, lampoon their pompous RAF officer, the parodies turns serious when they describe boys tearing up their personal effects, letters, and poems, to save embarrassment when they die.

These flashbacks build an engaging backstory but do jar a little as the edgy young captain who is clearly uncomfortable with this level of pressure and responsibility turns out to be a polished improviser and mimic.

In spite of a few such inconstencies, Immortal is well-delivered, thoroughly researched and has a sincere feel about it. McConville said it was important to treat the subject matter with respect, which he has done so without walking on eggshells.

Audiences have no doubt seen this kind of play already, but if they enjoyed it before, they will enjoy it again, and the end has very neat twist.

Till 2 Feb 2003.