Review: Wagstaff, UEA Drama Studio, 22/11/2012

Creative Writing MA Student Oliver Michell’s new and exciting play Wagstaff will make you re-question all the things you can do with a goat. In a desert.

Our spritely protagonist, Wagstaff, is abandoned in the desert in the midst of a mid-20th century war by his superior after his leg is blown off by a land mine. Following this, he learns to live on his own, manages a herd of goats for food, and goes a wee bit insane obsessing over the ‘desert spirits’. But what’s really magical about this play is the quality of the acting.

Wagstaff captivates the audience with a series of truly spectacular speeches. They’re both speculative and touching, yet icily realistic. The play explores themes such as what it means to be a friend, duty, death and the ‘journey’ all of which are at the forefront. Wagstaff’s jokey and laddish manner, interestingly reminiscent of UEA students, clashes with the strict military discipline of the other two actors and serves to make the play refreshingly close to the heart. As lovable as the protagonist is, the play brings you back to the reality of his situation; maimed, betrayed by his friend and abandoned.

The sparse set – the “pit” – was strewn with branches and dilapidated military gear which complemented Wagstaff’s heart wrenching madness as the play went on. One of the most poignant scenes featured the dying Wagstaff voicing his desire to visit the sea-side with his friend ‘Ratty’. He never makes it to the sea, but in some sense gets there in spirit after he is killed, out of compassion, by his friend. Here Michell gives us the journey.

UEA’s Chris White gave a warming and intriguingly sinister performance as Wagstaff’s superior. His firm principles and obsession with becoming a war hero are set against Wagstaff’s off hand acting style and gave an eery reminder to the wars we hear about in the news today. This 45 minute play managed to get across to a captivated audience the fragility of relationships during war and the very real danger we face, not only from modern weaponry, but from the soldiers we fight alongside.

The fantastic acting sits along side the dramatic and engaging transitions between scenes. Michell gives us flashing red rights and black clad ‘spirits’ who rearrange the set and demonstrate action. Sinister music plays during the transition, filling the drama studio with the sound of drums, as beetle-like backstage staff scuttle across amongst the debris onset.

The sadness in the play is set alongside some truly laugh-out-loud comedy scenes. Wagstaff’s bombastic, in-your-face prose ensured hilarity, with frequent reference to “bollocks” and a certain soiled bomb suit. The comedy and enjoyability of the play highlights the one criticism I have. It’s length. The one act play didn’t give quite enough time to enjoy Wagstaff in all his world-wearied glory. The audience was left wanting more!

On the whole, Wagstaff is a rich and enthralling piece packed with action, some sand, and decidedly eery characters. A solid four out of five performance!