(reviewed at the New Wolsey Theatre, Ipswich on 3 May)
It’s a very strange sensation to sit in the audience and have some of the indelible moments of one’s own childhood flash up during the play to mark the passage of six years. The six years in question are those of Nazi Germany’s occupation of the Channel Islands. Giuliano Crispini’s Lotty’s War takes place in Guernsey; I was in Jersey, but the Occupation of both islands ran on parallel lines.
Crispini has based his drama on a true story, told in a diary found among papers in St Peter Port’s Priaulx Library archives. On stage we first encounter teenage Charlotte Hervé, known as Lotty (Victoria Emslie) and her friend Ben de Carteret (Matt Ruttle). France has fallen to the German army and Luftwaffe bombers are circling the harbour. Lotty’s father is down on the quayside, overseeing the dispatch of tomatoes to England.
Somehow the British High Command had neglected to announce that the Channel Islands were a demilitarised zone. So the open tomato lorries (which must have looked like munitions trucks from the air) were bombed, with loss of life – including Lotty’s father. She had had her chance to evacuate earlier; now it is too late. Then General Rolf Bernberg (Ian Reddington) arrives to requisition the farmhouse.
Lotty can either leave her home or stay on as the officer’s housekeeper. She stays, and we see the relationship develop from mutual mistrust to something deeper than friendship. Ben on the other hand has no time for passive patriotism; he advocates full-blown resistance. As the Occupation bites deeper – curfews, wirelesses and cars banned, the V-sign campaign, rationing and ID cards, medical shortages, the 1944 Red Cross food parcels – all three are affected. Attitudes harden. There is not going to be a happy ending.
Directors Bruce Guthrie, Carla Kingham and James McAndrew cannot disguise the episodic nature of the script (the short scenes suggest that this might work better as a television or film treatment) and designer Victoria Spearing shows this by the rapid costumes changes for Emslie. Emslie allows us to see the stressed journey to a kind of adulthood which Lotty undertakes.
Reddington conveys the tight-buttoned formality of the career soldier with his Dresden-domiciled family in danger from Allied bombing raids steering a difficult course between duty and despair. Ruttle works hard to make Ben three-dimensional, but the impression remains that this is a type of angry young man, rather than a teenager maturing into a freedom fighter for whom the end will always justify the means.
Lotty’s War runs at the New Wolsey Theatre, Ipswich until 7 May with a matinée on 7 May. It can also be seen at the Palace Theatre, Westcliff between 20 and 25 June and at the Theatre Royal, Bury St Edmunds between 27 June and 2 July.