A Girl’s Guide To World War

First produced in 2018, this new musical is being revived for runs at Caloundra and Maleny. Telling the true story of Agnes Bennett, an Australian/New Zealand doctor who, with other women, ran a hospital which served the Serbian Army in Macedonia during World War 1, the musical was highly effective in dramatising the frontline situation with comedy and pathos. More a play with songs, the cast of eight, all women, played a multitude of roles from doctors, surgeons, nurses, and ambulance girls, to Aussie soldiers and Serbian military Colonels.

The music, in the folk-rock vein, was greatly assisted by Vicky Shearer, lead singer and guitarist of the all-girl blues band “Vix and the Slick Chix”, who acted as a narrator and played interesting guitar underscore throughout.

The level of performance was excellent, as was Katy Forde’s direction.

As Dr Agnes, composer Aleathea Monsour created a compelling portrait of a woman who was stoic, determined, and masterful at hiding her stress.

Susie French’s lesbian surgeon Dr Lilian Cooper was an assertive force, passionate, with a no-nonsense attitude, whilst Zoe Georgakis as her lover, Josephine Bedford, knew when to take control in the relationship. Their duet “Ask Me Once Again” was emotionally rewarding.

Veteran Margery Forde was in her element as the snobbish and stiff-upper-lip English Mrs Harley, running the ambulance service, and gave her appearance as Crown Prince of Serbia a distinguished regal authority.

The two ambulance girls, Kathleen and Elsie, provided comic opportunities aplenty for Gillian James and Forde, whilst Minette Lillian Cooper’s Boy had one of the prettiest ballads, “Purple Tree”.

Anne Grant’s costumes added to the period, as did Scott Anderson’s lighting, and Linus Monsour’s set of various shaped boxes. The strength of the piece was in Forde’s text, which although occasionally sprinkled with a four-letter word, had a charming innocence.

This true story could not have been in better hands. It was not only joyous and compelling, but a totally satisfying piece of drama.

Peter Pinne

Photographer: Jordan Wilson.