All too often, tales and films about war convey the pain of conflict only superficially, making the audience feel pangs of sadness that last only for a moment.
The National Theatre of Scotland’s “Black Watch,” however, portrays war in an emotional, intimate way that is unparalleled by any film or novel in recent memory.
Audience members — greeted by the loud bellows of bagpipes — found seats arranged on Memorial Hall’s stage that flanked the performance space. Holding only 200 people, the set up was intimate, transporting theatergoers from the safety of Chapel Hill to the war-torn battlefields of Iraq with ease.
It’s this intimacy that sets “Black Watch” apart — without it, the play could have been just another melodramatic war story.
In the first of many of the play’s self-referential moments, Jack Lowden, who plays the soldier Cammy, makes the claim that we, the audience, couldn’t possibly understand what it’s like to go to war.
That’s true.
But “Black Watch” provides a remedy by means of arresting explosions, passionate screaming and quiet, cathartic moments that open up our eyes to the actual dynamics — both on the ground and in the government — of war in Iraq.
One of the most powerful tools “Black Watch” uses is a seamless and frequent change in setting. Changes of costume are integrated into the play in an artful and non-distracting way.
By switching between nerve-wracking battle scenes and quiet interviews with a researcher after the war, two different facets of the soldiers’ experience are shared: the chaos of battle and the equally frightening aftermath.
One of the most touched-upon themes is the identity crisis Scottish soldiers experience in a war perpetuated by Americans. A long, yet engaging, series of period costume changes both outlines the history of Scottish involvement in war and supports the notion that to be part of the Scottish military is meant to be a badge of pride.
Yet in Iraq, soldiers continually refer to their actions and the actions of their allies as “bullying” — a less than endearing description of their duties.
It’s unsettling to be an American watching this play. The Scottish perspective on America’s actions in Iraq forces us to face up to what our country has done, and has the potential to leave audiences feeling ashamed. The power of “Black Watch” is so strong that it is easy to feel as though we bear a direct blame for the death of thousands of soldiers.
It seems as though even the lighter moments of “Black Watch” are designed to subtly off put the audience. In one such moment, an older commanding officer proclaims, “It’s important to remember what we’re out here fighting for: porn and petrol.” While the moment sparked laughter universally, it called into question what could have been the real motivation for invading Iraq.
Nothing, however, broke the veil between art and reality more than observing the reactions of an audience member who informed me that he was training to join the military. Sitting snugly to my left, his emotional reactions were palpable.
As he gripped his wife’s hand tightly, it was easy to guess what they may have been thinking — whether his experience would parallel the actors’. However unintended, this new dimension added greatly to the retelling of stories that comprised the play.
Though “Black Watch” is a wonderfully acted and creatively produced play, its strength lies in its ability to pull the audience into battle. No matter your political persuasion or opinions about war as a whole, the performance is sure to make the difficult truths about war a reality.
Four point five out of five stars
“Black Watch” is presented at Memorial Hall as a part of the Carolina Performing Arts Series’ International Theater Festival. Tickets are sold out, but more may be available after press time. See www.carolinaperformingarts.org for more information.
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