The Colours

It is a brave man who will write and perform a one-man show about War. In fact, preparing to attend this performance, I must confess to wondering what more could (or perhaps needs to) be said about this too often recycled, reinterpreted and common-sense defying human endeavour. I have very fond memories of Alan Seymour's influential Australian War drama The One Day of the Year (banned by the Adelaide Festival in 1960) and English playwright Peter Nichols' musical farce Privates on Parade (produced by the Melbourne Theatre Company in 1980). And the list goes on.

And now, added to the collection, is Peter Houghton's arresting mini-masterpiece The Colours. Colour Sergeant Atkins (Houghton), has been abandonded by his superior officers in Batundi, a fictional British outpost in Africa – left to guard his regiment's 'Colours': the flag that proudly wears the embroidered mementos of campaigns past … battles won, but more pertinently in this case, lost.

At turns hilarious, poignant, moving and powerful, Houghton has somehow managed to bring a unique insight to the conversation. Painstakingly researched, The Colours illuminates the lives of the British Empire's professional soldiers, resulting in a mesmerising ode to their contribution to the relative peace of our world … and the way in which we comprehend and experience it. While Houghton's script is littered with thought-provoking observation about contemporary issues (including some waspish commentary on religion, America's 'Empire status' aspirations, the ANZAC legend, and the contribution of the many nationalities that fought both independently and under British 'Colours'), it is ultimately the great affection with which Houghton has written (and performs) the ghost of his beloved Colour Sergeant (and a magically achieved supporting cast) that ensures it is never anything less than entirely engrossing.

Ms Browning has set the pace to frenetic, and with the exception of two stunning speeches of immense dramatic depth, the only thing lacking were breaths of reflection and contemplation. Often underestimated in the theatre, silence and stillness (on this occasion) might have added the necessary 'air' that would have provided us with the opportunity to share more equitably in the depth of story experience and Houghton's bravura performance of it. As it was, each outstanding dramatic and comedic highpoint (of which there are a luxury of riches) ultimately seemed packaged a little too neatly together.

Mr Gurton has created is a marvellously realistic, versatile and atmospheric environment which provides Houghton, Browning and Mr Vabre great opportunity to exploit every inch of it. Mr Chesworth's evocative soundscape transported us effortlessly to the distant African plains and featured the instantly recognisable war cries and bugle motifs that today signify (and dignify) our collective solidarity of the reverence of our War memories.

Geoffrey Williams

Pictured: Peter Houghton in The Colours. Photographed by Paul Dunn.