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© Robert Day
A newly discovered Ted Hughes translation of a 1956 classic by surrealist and vehement anti-war campaigner George Schehadé, this bears all the hallmarks of tantalizing theatre. Director Adam Barnard, who usually helms works of biting comic realism, has reconstructed the play from Hughes's original manuscripts. Schehadé's allegory, of a sweet, unheroic barber whose innocence is his only armour in an all-consuming war, is airtight. But Hughes' soaring poesy sounds through it like the unanswered call of a lone bird in a blasted battlefield. There are some well executed surrealist scenes, and moments of keen hilarity. But despite its rough-cut charms (and the draw of the first airing of a free verse play by one of our finest dramatic interpreters) the production remains a slipshod, largely uncomfortable affair.
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What is 'following'?Starting life as a lunchtime pub venue in Richmond in 1971, Orange Tree Theatre graduated to a bigger, 170-seat space across the road in the early...
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