Stalag Happy

Review by Ben Judge | 15 Aug 2009

To the piercing cries of air raid sirens and the thundering sound of marching troops, we are welcomed to the Stalag 383, the German prisoner of war camp. This is the real-life story of two (later to be) hugely significant British abstract artists Adrian Heath and Sir Terry Frost during their time as POWs during the Second World War. Essentially a contemporary “bromance”, this is an at times powerful portrayal of two friends and their search for beauty and creativity in the darkest of places.

This production bristles with ideas and is brought lovingly to the stage by the very accomplished duo, Edward Elks and Dan Frost (Sir Terry’s grandson). This is a play that never goes for cheaply contrived, over-the-top sentimentalism; its continued insistence upon showing a stiff upper lip in the face of horror and sorrow is a strong device.

But while the relationship between Frost and Heath is respectfully, honestly and, at times, brilliantly portrayed, the play itself seems to lack focus. There are simply too many ideas buzzing around for Stalag Happy to feel cogent. In trying to depict the Stalag 383 camp beyond the story of Frost and Heath—in which theatrical productions were put on by prisoners as a means of keeping up morale—it feels as though a little too much has been taken on. The message that the arts are empowering is there, but it feels a little muddied and incoherent as the play’s narrative is broken up.

Coupled with a rather unsatisfying conclusion, Stalag Happy seems to peter out, rather than end on the high that Elks and Frost’s performances so richly deserve.