Writer: Patrick Hayes
Director: Marcus Fernando
6th June 1944 marked a day of hope and resistance as the Allied forces set out to reclaim lost land in North-West Europe, and provide a monumental turning point in the war. That same hope will have been felt by a select few in the small village of Oradour-sur-Glane, who for four years had been subjected to the ruthless control of Nazi Germany, while never abandoning their dreams of a return to freedom and normality.
It doesn’t take a historian to be familiar with the key battles in World War Two, but far fewer people will be able to tell the tragic story of the Oradour community that occurred only four days after the allied landings. It is the aim of Patrick Hayes to bring these events to the stage to honour those affected.in a way which is naturally so raw and powerful.
In the present day, Marie Christine (Katie Cannon), Miriam (Alice Orlik), and Steve (Taylaan Pambou) are embarking on their travels in the south of France. Their naivety leaves them stranded as even Google Maps can’t rescue them from boarding the wrong train. The inevitable railway failures that follow will compound a miserable beginning to their journey against the backdrop of an explosive thunderstorm. Maurice (Andrew Cullum) offers an invitation to stay with him in a property which is steeped in the history of Oradour. The unsuspecting trio of travellers will later find out that there is more on the menu at this bed and breakfast than they could ever have realised.
It is clear that Hayes and director Marcus Fernando have worked hard to connect the events of the past with the present day. The biggest concern of the modern-day trio is what TrustPilot score the property has, before we are smoothly taken back in time to experience the lives of a loving and caring family who are living out their day-to-day reality inside the same four walls eighty years earlier. These transitions between past and present are done seamlessly, and at times, there are clever moments to connect the two on stage at the same time. This is especially clear with powerful monologues from those in the past to add detail and emotion to what they are finding out in the present day.
The playfulness of the children – Monique (Leah Fennell), Claudine (Annaliese Morgan), and Lucien (Amara Latchford) – shows temporary respite from the dangers of occupied France, and helps us to appreciate the terrible reality that they faced. This is especially clear with the regular visits from the domineering SS and the tense impact this has on the family. The integration of the French and German languages in these moments also adds authenticity to what is being experienced on stage.
As Marie Christine, Miriam, and Steve discover the fate of the wartime residents of Oradour, it makes for a hard-hitting and emotional conclusion to a story that leaves nothing to the imagination. To make those connections between past and present more vivid and powerful, there are some interesting and creative twists which add to what is already an exemplary piece of small-scale theatre.
The creative team state that they want this play to “convey timeless themes” and be a “warning for our time”. All My Pretty Ones is likely to leave you not only recommending this play to others, but to share the largely unheard story of 10th June 1944 in dedication to the people of Oradour-sur-Glane.
Runs until 17 May 2025
