When we think of war poetry, often our minds go back to Wilfred Owen or W B Yeats; Owen Sheers' Pink Mist at Bush Theatre brings the horror of conflict blisteringly into the present.
Directed by John Retallack and George Mann, the verse play is told largely through monologue, movement and psychedelic choreographed sequences.
Pink Mist comes to the Bush after its 2015 premiere at the Bristol Old Vic, telling the tale of three young men who enlist in the army in search of a career that will take them away from their small-town lives.
Inspired by interviews with soldiers and their families, Pink Mist looks into the psychology behind returning to your life after war, and the trauma conflict leaves in its wake.
From the beginning of the play, when we are first introduced to Arthur (Phil Dunster) and his friends Hads and Taff (Alex Stedman and Peter Edwards), interspersed choreography, noise and cut narrative is used, giving the scenes a nightmareish feel; these juxtaposing flashes are used throughout the play - a visually stunning way of immersing the audience into the traumatic world of the soldier's flashbacks.
The story does well to pace itself; comic relief and Dunster's lively Bristolian narrative balances out horrific descriptions of friendly fire and military slang (Pink Mist: the quick burst of blood that makes a misty effect when someone is shot dead), while a focus on each ensemble character prevents the story from becoming bogged down in the weight of just one perspective.
At times, members of the ensemble shone; Lisa's (Rebecca Killick) searing monologue about the reality of her husband returning from war with psychological trauma left me hollow and stunned.
However, in my opinion, the play didn't quite go far enough in exploring the women's experiences; where the audience saw flickers of heartbreak, more could have been made of the feelings of loneliness and worry.
Though the play is a stunning look into the lives of young men who naively fall into conflict, more could have been done to flesh out the stories of who they left behind.
The light, visuals and poetic language worked together incredibly effectively, complementing the sharp movement and bare set in aesthetic harmony to let the audience really focus on the storyline, full of contrasting poignant and brutal moments.
In all, the play explores the aftershocks of war with stunning poignancy; its brilliant cast and gorgeous aesthetics working with Sheers' tragic text to create a piece of truly moving theatre.
Pink Mist for me echoed the words of Andrea Gibson's war poem Sleeping, "that war was no place for a soldier", its dream-like choreography and brutal account of trauma touching the audience and leaving them heart-broken; a harrowing must-see.
The text is a review of the play "Pink Mist" by Owen Sheers, discussing its content, style, and impact on the audience. It does not contain any mathematical questions or answers.
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When we think of war poetry, often our minds go back to Wilfred Owen or W B Yeats; Owen Sheers' Pink Mist at Bush Theatre brings the horror of conflict blisteringly into the present.
Directed by John Retallack and George Mann, the verse play is told largely through monologue, movement and psychedelic choreographed sequences.
Pink Mist comes to the Bush after its 2015 premiere at the Bristol Old Vic, telling the tale of three young men who enlist in the army in search of a career that will take them away from their small-town lives.
Inspired by interviews with soldiers and their families, Pink Mist looks into the psychology behind returning to your life after war, and the trauma conflict leaves in its wake.
From the beginning of the play, when we are first introduced to Arthur (Phil Dunster) and his friends Hads and Taff (Alex Stedman and Peter Edwards), interspersed choreography, noise and cut narrative is used, giving the scenes a nightmareish feel; these juxtaposing flashes are used throughout the play - a visually stunning way of immersing the audience into the traumatic world of the soldier's flashbacks.
The story does well to pace itself; comic relief and Dunster's lively Bristolian narrative balances out horrific descriptions of friendly fire and military slang (Pink Mist: the quick burst of blood that makes a misty effect when someone is shot dead), while a focus on each ensemble character prevents the story from becoming bogged down in the weight of just one perspective.
At times, members of the ensemble shone; Lisa's (Rebecca Killick) searing monologue about the reality of her husband returning from war with psychological trauma left me hollow and stunned.
However, in my opinion, the play didn't quite go far enough in exploring the women's experiences; where the audience saw flickers of heartbreak, more could have been made of the feelings of loneliness and worry.
Though the play is a stunning look into the lives of young men who naively fall into conflict, more could have been done to flesh out the stories of who they left behind.
The light, visuals and poetic language worked together incredibly effectively, complementing the sharp movement and bare set in aesthetic harmony to let the audience really focus on the storyline, full of contrasting poignant and brutal moments.
In all, the play explores the aftershocks of war with stunning poignancy; its brilliant cast and gorgeous aesthetics working with Sheers' tragic text to create a piece of truly moving theatre.
Pink Mist for me echoed the words of Andrea Gibson's war poem Sleeping, "that war was no place for a soldier", its dream-like choreography and brutal account of trauma touching the audience and leaving them heart-broken; a harrowing must-see.
user
The text is a review of the play "Pink Mist" by Owen Sheers, discussing its content, style, and impact on the audience. It does not contain any mathematical questions or answers.

TYPE: NO_QUESTION