A Girl’s Guide to World War

If history were taught with the heart, humour, and horsepower of A Girl’s Guide to World War, we’d all have paid a lot more attention in school. This revival of Katy Forde and Aleathea Monsour’s 2018 musical brings a little-known but utterly riveting chapter of World War I roaring back to life — complete with bluesy guitars, clever set transformations, and an all-female cast who juggle roles, accents, and emotions with aplomb.

Based on the true story of Dr Agnes Bennett and her team of trailblazing women who ran a field hospital for the Serbian Army in 1916, the show is an inventive musical, with gripping storytelling. Employing a balance of pathos and comedic wit, the script presents the grim realities of war alongside vibrant human moments — and a fair dose of Aussie irreverence.

Aleathea Monsour (also composer and musical director) plays Dr Bennett with restraint and grace, painting a portrait of a woman determined to hold herself together even as the world falls apart around her. Her portrayal is quietly intense, and her focus and emotional range is magnetic.

Susie French’s Dr Lilian Cooper is the no-nonsense foil to Agnes’s measured calm — brisk, unapologetically forthright, and, refreshingly, openly queer. The relationship between Cooper and her life partner, Josephine Bedford (played with poise and warmth by Zoe Georgakis), adds both emotional depth and historical richness. Their duet, “Ask Me Once Again”, is a standout moment: tender, layered, and sung tunefully. It is so refreshing to see a same sex relationship presented on stage as romantic, healthy, and supportive.

The production design by Bill Haycock is inventive and evocative. Sculptural wooden structures, cleverly designed textile pieces and multi-use boxes transform the space into everything from makeshift operating tables to, ships, and rumbling ambulances, all without breaking the flow of action. Haycock’s costumes are equally smart — stylish, period appropriate, and key to helping the audience track the rapid-fire role changes among the ensemble.

Speaking of which: the entire cast deserves medals for their energy, versatility, and cohesion. Margery Forde delights as the posh and prickly Mrs Harley and brings regal status to her brief turn as the Crown Prince of Serbia. Matilda Malone (Kathleen) and Rachel Fentiman (Elsie) inject infectious energy and charm into the story, their comic timing sharp, their vocals lovely. Minette Cooper impresses both as Higgins and a Gallipoli soldier — her stage presence is magnetic, and her ballad “Purple Tree” is one of the show’s most memorable musical moments. I may have shed a tear or two in that one!

Adding another layer of magic is the onstage band, led by the captivating Vix Nightsinger, whose smoky, blues-inflected vocals lend the score a rich, emotional undercurrent. The live music element, with Sue Moxon and Suzanne Hibbs rounding out the trio, and Monsour jumping in on bass guitar occasionally, gives the show a raw, vibrant energy that canned soundtracks simply can’t replicate.

The harmonies in ensemble numbers shimmer with beauty, and the musical’s tone never loses its footing. The direction by Katy Forde ensures the emotional shifts feel earned, the comedic beats land cleanly, and the message is clear: these women were pioneers, lifesavers, and absolute legends.

A Girl’s Guide to World War is as educational as it is entertaining. It’s a testament to female resilience and ingenuity, wrapped in song and laughter, and delivered with extraordinary care. This is theatre with purpose and passion — and it just might send you home googling Dr Agnes Bennett, wondering why this incredible story isn’t already in every curriculum.

Kitty Goodall

Photography by Luke Monsour