As Told By The Boys Who Fed Me Apples | Lachlan Driscoll
All images: Geoff Lawrence, Creative Futures Photography
Congratulations to Lachlan Driscoll (Director, Designer, and Producer) for the vision and creative passion that has brought R. Johns’ play, As Told By The Boys Who Fed Me Apples, to Brisbane’s 2024 Anywhere Festival.
The three-act play centres on fragments of the life of Sandy. Of the 136,000 Australian horses sent to the First World War, Sandy was the only one to return home. Each of the three acts provides insights into the horrors of active service—for both the men and for their horses—not only on the battlefield, but also when travelling to and from the killing grounds.
Sandy’s experiences are recalled and communicated through three of the ‘boys’ who fed, cared for, and cherished this gentle survivor. And through the solid, equine performance of Robert Wainwright (Sandy). Fellow performer, the talented Riley Finn Anderson, plays each of the three men: Major General Bridges (who ensured that his favourite charger was shipped out to Europe, and who was fatally shot at Gallipoli in 1915), a Western Front Veterinary Officer (1916), and Archibald Jordan (Sandy’s last handler, in 1918).
All images: Geoff Lawrence, Creative Futures Photography
There is so much to highlight from this excellent production—particularly the soundscape, acting, and production design/direction. The soundscape is superb; evocative, and absolutely interwoven with the spoken word and movement (Steve Maples, Sound Technician and Production Assistant). Driscoll is well-served by the cast, and also acknowledges the support by Helen Strube (Dramaturg), and Sara Jane Aistrope (Movement Consultant & Coach). Wainwright and Anderson communicate the fear and horrors of the journeys and battles, and build a real sense of the loving and trusting relationship established between each of the ‘boys’ and their horse.
Anywhere Festival challenges artists to work in spaces that are ‘anywhere but’ traditional black box theatres. Driscoll has risen to that directorial, production and design challenge by transforming the heritage Trinity Hall into three separate ‘stages’. Once tickets are checked, audience members are invited into the hall, and to tread carefully onto the ‘trench boards’ that surround two of the three stages. Members of the preview audience each stood in their allocated spaces, completely absorbed by the unfolding tale—such that they often needed a gentle encouragement to move on to the next act.
The pathway is cleverly lit, but tickets sensibly include a reminder to wear flat, closed in shoes—and to expect to stand for most of the 70-minute show (there is limited seating available). This promenade device establishes a powerful sense of ‘witness’ to the horrors of war that includes ‘memories’ of hand-to-hand combat, gas, lice, and lingering deaths. Which meant that, at the end of the preview, we all applauded with great enthusiasm—and then left the Hall quietly, each pondering the stories we had together shared.
If this show were to be reprised in another festival or on a larger stage, I would be interested to see As Told By The Boys Who Fed Me Apples with three actors cast in each the roles of the ‘boys,’ or even perhaps a run that switches the roles of the ‘boys’ and of the ‘horse.’ And I’d explore any possibility of trimming of the third and final act. But I recommend you buy tickets while you can see this production, and have the chance to congratulate Riley Finn Anderson, Robert Wainwright, and Lachlan Driscoll.
All images: Geoff Lawrence, Creative Futures Photography
This review was originally posted on Creative Futures Perspectives.
