“There’s no more to be said
For when we are dead
We may understand it all”
Commemorating the start of the First World War has turned into something of a full-time business for the nation’s theatres but in reviving the rarely-seen 1927 Sean O’Casey anti-war piece The Silver Tassie, the National Theatre has hit on something special. The play is structurally extraordinary in the difference of its four acts – a vaudevillian take on an Irish household transforms memorably into the visceral horror of a battlefield haunted by music hall songs, after the interval a hospital-set comedy eventually turns into stark realism, as the shattering effects of war on society are laid bare. Howard Davies’ epic production forges through blood and noise to find a most painful truth.
The cumulative effect may challenge some and is certainly disorientating at times but it also has a form of progression that feels natural, like feeling a way through what we now call post-traumatic stress disorder. Opening in the Dublin tenement home of the Heegans, the play riffs on Irish stereotypes through the clownish figures of Sylvester and Simon and the neighbourhood archetypes they teasingly mock but soon allows young gun Harry Heegan to take centre stage, boasting the trophy – the Silver Tassie – he and his teammates have won playing soccer, just before they head off to join the British war effort.