"A strong and novel concept... [that] lends itself to a very good play." - Annie Starkey, A Younger Theatre
"An amazing piece of theatre. A perfect mix of heart and mind... It's comforting to know this is the theatre of the future!" - Georgia Lepore, Sycamore TCompany
"Crisp, clear and insightful drama... well directed snapshots, quiet moments in a violently changing world. The questions asked stayed with me long after the show." - Richard Ashton, Director & Theatre Practitioner
"A tense, haunting interrogation of the effects war can have on love, hope and identity." - Justin Stathers, Theatre Bubble
"A well-performed, intriguing piece that successfully explores human communication within the setting of war... humanises those who are often dehumanised by their involvement in war, and leaves the audience pondering how people emotionally survive those situations." - Grace Harley, The Upcoming
"Unique perspectives and insights." - Peter Brown, ActDrop
"And again tomorrow, Scott. And again tomorrow..."
In a military field hospital the line between war and terror is blurred on the eve of the final push. Relationships are built and discarded as the medical staff question what it is to love in war.
Dehumanisation is a tool too often employed by leaders intent on selling and justifying a war in the eyes of their publics. It allowed the Nazis to embark on their various purges, the Ottoman government to exterminate the Armenian populace and the British Establishment to embark on an amoral conquest of the Middle East. Dehumanisation strips someone of their “humanness” making it easier to act immorally against them because of the suppression of sympathy. Although usually it is tactically employed against an enemy it can also be very easy to unknowingly “dehumanise” troops on either side.
In a world of increasing extremism and elitism these are men and women under incredible pressure and strain, often fighting in conflicts they would not have asked for had they been given the choice. The closest the mainstream media comes to reporting on their conditions is when we are thrown a scapegoat, a “bad egg” (such as Lynndie England or William Calley Jr) in order to deflect the blame from those actually coordinating the carnage. But it is possible to support the Armed Forces without condoning their existence.
The Calm is a play that asks what defines a “just war” and seeks to restore humanity to those subjected to the conflict. They might be the enemy and they might well be fighting under a corrupt system but they were and are humans first.
The Calm played for one night at The Bute Theatre, Cardiff on July 26th. It then ran Edinburgh Fringe previews at Waterloo East Theatre from August 11th - 13th before journeying up to the Edinburgh Fringe Festival itself to play at Venue 13 from August 21st - 27th. The show also had a week-long closing run at The London Theatre from September 13th - 18th.
Ella - Rebecca Marklynn
Scott - Simon Stallard
Holly - Jennifer Whitehall
Sam - Ethan Taylor
Director - Jules Tipton
Writer - Ethan Taylor
Sound & Lighting - Gregory Jordan/Venue 13 Production Team