Review: 'Lord of the Flies'

DramaSoc's production of Lord of the Flies is one in which they should be tremendously proud. From beginning to end, I found myself completely immersed in the play; after the first part, I did not feel like I was merely watching actors, but that I was watching the genuine events unfold.

Lord of the Flies follows the story of a group of schoolchildren, who find themselves trapped on a beach after a plane crash. Their attempts to create their own society fail dramatically, and the subsequent events make the audience question what it means to be human; what 'human nature' really entails.
 
As you may have gathered, it certainly is not a play to see if you are looking to be cheered up; indeed, the play is incredibly dark and soul-searching, but that does not stop it from being entertaining. The terror I experienced at the events before me was only heightened by the incredible work of the lighting engineers. The lights were used exceptionally to transform the small stage into the island where the story is set, with a depth and sense of distance that DramaSoc should be proud to have achieved.

I also cannot give high enough praise to the actors, whose skills upon the stage led me to truly relate to all of the characters. I was genuinely heartbroken, and genuinely appalled, at certain moments of the play, as I felt the emotions portrayed by these artists cut right into me. My only criticism - and it is a minor one - would be that, during a soliloquy given by the character of Simon, I couldn't really understand him over his sobs.

Besides that, the play was astonishing - I do not believe that I have ever seen a play that has more engrossed, appalled, and struck me to the core. Lord of the Flies is a must-see - it will take you on a rollercoaster of emotion, and may even lead you to question the very nature of your being.

By James Aston

Review: 'Journey's End'

Based on his real experiences of the trenches, R. C. Sherriff writes Journey’s End as a gripping yet humanised glimpse into just a few days of living on the front line. When young officer Raleigh joins his childhood hero and family friend Stanhope in the trenches, three years of experience in the nightmare of warfare has entirely changed his hero who has turned to whisky to cope with the trauma. It is a moving, thought provoking piece, performed admirably by the York DramaSoc cast. 

On entry into the barn, I felt like I had taken steps back through time into a war bunker. The space had been transformed into the dark and dirty hell of the trenches, and I was impressed by the great detail in which the crew had gone into in order to create an authentic looking set. It was clear that a lot of time and thought had gone into this, and credit must be given to everyone involved in this superb recreation. The seating was set very close to the stage, which invites the audience to become part of the action, making the emotions running through the play cut deeper and feel more intense. 

The play itself was very well performed. Whilst it seems slightly lacking in plot line (which actually appears to be representative of the pace of the life in the trenches) the play makes up for this in the beautifully written script and it’s representation of each character and the wonderful relationships between them. Throughout the two hours spent in the barn, I became absorbed in the play and felt so much sympathy towards each of the characters, that some of the most intense scenes left me with a sickening lump in my throat.

All of the characters were flawlessly performed, and the development of the relationships between each of the officers had clearly been a main priority when rehearsing this play. Special mention must be given to Sam Hill who played Stanhope and Josh Welch who played Raleigh, for their outstanding and heart-breaking performance of this tragic friendship. Sam Hill flawlessly portrayed the traits of his complex character; a world-weary, bitter captain with an intense heart. Ross Cronshaw also played an excellent Osborne, successfully portraying the level headed father-figure of the group of men. 

However, amidst the grave wartime setting, comic characters like Trotter (James Dixon) and Mason (Tim Kelly) provided an ongoing sense of continuing everyday life, which made the situation feel real, a significant contrast to the intense seriousness of much of the rest of the play. Both characters were well performed, adding a light relief and a humanistic feel which R. C. Sherriff wanted to create with this play.

Unlike many wartime productions, Journey’s End is authentic and honest. We are presented not with over glorified battles and super heroes, but real men, real lives and real emotion. Edd Riley has directed an incredibly touching production which should not be missed. A fantastic start to the term, I highly recommend this performance. 

By Sinead Hammond

URY Speech Theatre Liaison