Cannibalism on The Fringe

A true story exploring the unravelling of humanity among imprisoned WWII soldiers

Preview by Eric Karoulla | 14 Jul 2014

Stripped Down Productions present their debut production The Curing Room, directed by Jaoa De Sousa. Written by David Ian Lee, the play observes seven Soviet officers captured by the Nazis in 1944. Imprisoned in a monastery cellar in occupied Poland, the seven men are stripped, locked up, and abandoned. With no possessions or food, the soldiers begin to lose their sense of order, rank, dignity, and social behaviour. In the fight for survival, it's hard to say what's right and what's wrong. 

Based on a true story, this world premiere unravels the darkest side of human nature, especially the importance of maintaining order in view of the need to survive. Although the characters are extremely disciplined as military officers, they crack under the pressure because, after all, they are only human. Nonetheless, perhaps the consequences are even greater since they have the brutal training to keep their cool in a violent situation. 

While films like Silence of the Lambs (1991) have demonised cannibalism, it has been proven – as De Sousa explains – that some societies have been known to forgive cannibalism in survivors of terrible events, and even go so far as to condone it under extreme circumstances. Even so, it is difficult to imagine what could push someone to the act. 

Meanwhile, for Will Bowden, the production signals a return to his performance roots, as he hasn't been on stage in a while.

"It allowed me to rediscover the rawness of acting in a theatre," states Bowden. Bowden has a history of appearing in military films like Pearl Harbor (2001) and Captain Phillips (2013) and seems to be still seeking that breakthrough role, although it seems he's getting closer. His martial arts skills and film career must have undoubtedly prepared him for the part. His willingness – as well as that of the other actors – to appear naked for the entire ninety minutes of this performance surely indicates the extent of their commitment to both acting and to the production itself. Consequently, the preparation for the performance involved both physical and mental training, particularly in order to separate the traumatic events of the narrative from real life. 

This production coincides with the hundred-year commemoration of World War I, but also the 30th anniversary of the Pleasance. It seems a chilling yet thrilling performance with which to kick off an inaugural theatre run, let alone the Fringe. In the past, however, other attempts at bringing cannibalism into the light of the Fringe don't seem to have gone down very well. For example, David Hughes' dance performance Last Orders (2012), which featured the legend of Sawney Bean and his clan, was not particularly well-received. Even so, there might be space for something like this in the Fringe, particularly since physical theatre seems to be widespread, and in this kind of performance the physicality of the performers is vital. It will be fascinating to see how it is received.

The Curing Room, 30 Jul-25 Aug (except 11 Aug), Pleasance King Dome, midday, various prices