Tom, Dick & Harry – Alexandra Palace Theatre, London

A review of Tom, Dick & Harry at the Alexandra Palace Theatre. This endlessly creative WWII escape story balances light and shade in a compelling theatrical tour de force.

Tom, Dick & Harry

Is it WWII Week on the Salterton Arts Review? The last post was all about Jack Absolute Flies Again, a WWII retelling of Sheridan’s The Rivals. The source material for today’s post is a lot closer to actual events. In fact, the starting point for writers Michael Hugo, Andrew Pollard and Theresa Heskins (who also directs) was formerly classified documents at the National Archives. Through these documents, which included reports from former POWs and Red Cross observers, Hugo, Pollard and Heskins have weaved together the story of Stalag Luft III. An inescapable Prisoner of War camp, perfect for serial escapers. With subterranean microphones and raised huts to prevent digging through the floorboards, how could anyone make a serious escape attempt?

How indeed! There is a thread through this play about escape as escapism. Even if the chances are incredibly slim and the danger high, focusing on an escape plan made life bearable for the internees. After all, officers weren’t even allowed to be put to work according to the terms of the Geneva Convention. And it turns out that gymnastics, choir practice and even embroidery classes can be pretty good cover for escape preparation.

So who are Tom, Dick and Harry? Not people. They were the three tunnels dug by the prisoners of Stalag Luft III over two years. Three, so that there were backups. And lucky there were three, as one was discovered and one caved in. Again according to the Geneva Convention, the worst punishment you could receive for trying to escape was a month in solitary confinement, which made it a bit like a game of cat and mouse. Only in this case, the consequences in the end were a bit more serious. If you’ve seen The Great Escape, based on the same true events, you know what I’m talking about.

A New Vic Theatre & Kenny Wax Co-Production

Tom, Dick & Harry has come to the Alexandra Palace Theatre by way of the New Vic Theatre near Stoke-on-Trent, with Kenny Wax Productions. Hugo, Pollard and Heskins are in fact frequent New Vic collaborators. A peculiarity of the New Vic is that they perform permanently in the round, a set up which has been replicated for the show’s London transfer.

From the first scene, a sort of deconstructed fighter pilot sequence, it’s clear that this is an immensely creative production. What follows lives up to this expectation. Laura Willstead’s set is simple, but embodies multiple spaces including huts, tunnels and post-escape European cities. Daniella Beatie’s lighting design and Illuminos’ video projections support perfectly. The creativity of the overall production is almost boundless. Arriving at the theatre that evening, I little expected to see a magic translation machine, generous audience participation, or an on-stage bike ride. I absolutely loved the way civilians were included in later scenes, without detracting from the story of the characters the audience are fully rooting for by this point. It’s quite knowingly ‘meta’ at times (see the translation machine, which switches actors between German and English with a German accent, or the scenes navigating invisible doors and gates), but all good fun.

And the all-male cast do the story and the characters justice. They reflect the melting pot of Allied nations. There are Dutch, Australian, American and other nations as well as posh RAF types. It’s a fast-paced, physically demanding piece of theatre which also requires singing and dancing, but everyone more than keeps up and seems to relish the challenge. Which even extends to some split second scene changes, tables and chairs flying in just as the next line starts.

With Great Escapes Come Great Consequences

Ultimately, Tom, Dick & Harry is an adventure romp, but one which doesn’t shy away from the realities of war. Just as some of the most incredible details of the escape (like the making of clothes, documents and even compasses from limited camp supplies) are all true, so are the consequences the escapees faced. Which did not follow the Geneva Convention. Of the 76 that made it out, 50 were reportedly shot. The incorporation of original audio into the production is a stark reminder that it wasn’t all acrobatics and proto drag shows.

Of the performances, a few stand out. Firstly, Hugo and Pollard both double as prisoners and prison guards, capturing the nuances of each. Ok sure, the German characters aren’t far off the stereotypes set by decades of films and TV, but Pollard’s portrayal of German Lederman and British Wings brings home the mutual respect between officers on opposite sides. And sure, David Fairs’ Giesler is the height of arch-villainry, but his scene railing against the comforts of camp life while civilian populations suffer is actually very humanising. Finally Sam Craig’s CJ is a sweet character, keeping up morale with his songs, but also reminding us that the colour of your skin had a big bearing on your chances as an escapee.

In the end, this transfer of Tom, Dick & Harry to London was only let down by acoustics. The Alexandra Palace Theatre is a cavernous venue, and not quite suited to the volume of dialogue. Playing in the round is one of the factors here – I had more trouble making out lines when characters had their backs to me. If you’re coming, try to book a seat closer to the action as this makes a difference.

Despite these auditory challenges, Tom, Dick & Harry entertains while simultaneously demonstrating impeccable stagecraft. I enjoyed myself immensely. Whether you’ve seen The Great Escape or are entirely new to the exploits of the prisoners of Stalag Luft III.

Salterton Arts Review’s rating: 4/5

Tom, Dick & Harry on until 28 August 2022