Arms and the Man

Rousing the social conscience by mocking social and political conventions, Bernard Shaw’s Arms and the Man, penned in 1894 and set during and after the 1885–86 Serbo–Bulgarian war, opens by introducing us to the character of an enemy officer, the Swiss Captain Bluntschili, fleeing massacre, and Raina — fiancée of Sergius, who led the route of Bluntschilli’s Serbian forces.  From there, tensions between proper behaviour and honourable acts  in this “antiromantic” tale, which Shaw wrote as a serious play, multiply amusingly as Bluntschili becomes Sergius’s unwitting rival for Raina’s affections.

Beautifully crafted in both plot and writing style, the play’s success in being both credible and funny depends upon enacting its profound insights with finesse.  We were in for a treat.  Except when intentionally overblown — when it was overblown indeed — the play was well acted and paced, Brian Kavanagh’s comic timing being particularly acute.  Its character revelations of overweening ambition; disgust with war; and pretence even between the betrothed Raina and Sergius were handled adroitly, as was the revelation of the former fugitive after the war as a master of logistics.

The talent behind the scenes deserves special mention: a marvellous, intricate set; immaculate costume design, brought to life with incredible embroidery; and, as usual, perfect sound and lighting, all making it an experience to remember long afterward.

John P. Harvey

Image: [L–R] Antonia Kitzel, Lexi Sekuless, and Joel Hutchings, in Arms and the Man.  Photographer: Helen Drum.