This new piece by Simon Stephens is a form of experimental devised art work that was created in collaboration with movement director Imogen Knight. Whilst NUCLEAR WAR is a metaphorical tittle that paints a solid and vivid basis for the themes explored by the piece, the overall outcome feels a little bit disappointing and perhaps underwhelming, although the piece does occasionally create powerful and vivid images.NUCLEAR WAR uses five performers in order to convey a short and poetic story of decay, loneliness and despair. The piece concentrates on the personal tale of a woman, played by Maureen Battle, who supported by four dancers takes us on a journey around her city and the state of her mind. Struck by grief, personal tragedy and loneliness the central character of NUCLEAR WAR is driven by many emotions which Imogen Knight personifies through the use of dance and movement.
In his introduction to the text Stephens talks about the fact that he would like the audiences to make up their own minds about NUCLEAR WAR and whilst the ambiguity of the piece is definitely one of its strengths, 45 minutes feel far too short as there is not enough time for audiences to delve into “the world of the play” or to develop a connection with the main heroine.
Maureen Battle is an honest and truthful actress and that together with her stage presence and natural ability to connect to the text makes her performance moving and memorable. There is no doubt that Stephens’ poetic writing generates plenty of emotions and through its exploration of humane themes that feel very universal NUCLEAR WAR makes for a haunting piece of writing.
Perhaps the experimental concept of this production, although definitely admirable, could benefit from less structure and more creative boldness. At times Imogen Knight succeeds in devising intense and unsettling scenes, yet as a whole NUCLEAR WAR lacks innovation; hence the production does not feel pioneering or ground breaking in any way.
The Globe Theatre has had a lot of bad press recently. Their recently appointed Artistic Director, Emma Rice, announced she was leaving the organisation after just a year. No one knows exactly what happened but Rice introduced stage lighting and amplified sound to the venue which had traditionally prided itself on presenting plays in a way that was as close to Elizabethan theatre conditions as possible. The general opinion seems to be that the venue's board of directors objected to this and Rice's position became impossible leading to her resignation. 