Review: THE WAR OF THE WORLDS, Rose Theatre

In October 1938, Orson Wells broadcast a radio adaptation of H.G. Wells' The War of the Worlds. He converted the story of alien invasion into a series of dramatic news bulletins, which inadvertently inspired mass panic across America. This incident is seen by some as the original source of 'fake news'. First seen in 2019, physical theatre duo Rhum + Clay's clever adaptation now lands in the Rose Theatre this week as part of a new tour.

We seemingly begin with the original radio broadcast, where reports come in from New Jersey about the apparent Martian landing. There is an abrupt shift to 2016, as we are introduced to Meena, a young British woman keen to make a podcast about a 13-year old girl, apparently abandoned by her family in the hysterical wake of the broadcast.

The production then shifts between these two time zones as Meena travels to New Jersey to meet tries to find out what really happened. But does Meena want to find the truth, or does she want to create a more interesting narrative that happens to be false?

A talented quartet of actors take us through this story, jumping between characters, accents and time zones; all showing remarkable adaptability. Gina Isaac shows a particular aptitude for accents; from a clipped Sky News reporter to a New Jersey drawl. Jess Mabel Jones is earnest and eager to please as Meena.

Rhum + Clay's Artistic Directors Julian Spooner and Matt Wells also appear. Spooner, who also co-directs the show, is the most natural stage presence, morphing with ease between Meena's rather verbose podcast director and the intense and moody internet maverick Jonathan. Wells is also very natural, but excels as the show's Movement Director. There is an instinctive physicality to the performances, the actors moving tightly together then springing apart as a group.

There are no changing sets or flashy costume changes. Much depends on Ben Grant's well-designed sound, which evokes the muted and slightly muffled sounds from original broadcast, mixed with the crispness of the modern day.

Nick Flintoff and Pete Maxey's lighting is also integral to the story development. It dazzles with primary colours, with clever use of shadows and spotlights to illustrate scene and time changes.

The production aims its message for the internet age; what is our relationship with the truth? Why do we believe what we read online? How do we decide what is credible? The news is shown as a powerful propaganda tool and truth as subjective.

There are more questions than answers and a little more exploration about the importance of impartial news sources would have been welcome. After a dynamic and constantly moving show, the production also tails off slightly timidly. However, this is a dynamic and thought-provoking show, full of unexpected energy and intelligent stagecraft.

The War Of The Worlds is at Rose Theatre until 1 August

Photo Credit: The Other Richard

To post a comment, you must register and login.