The Tree Of More

It’s been quite a week.  We spent all of Saturday afternoon at The Tree of War rehearsal, filming and photographing background stuff.   Monday evening we were at the press preview; the show opened on Tuesday.  It is phenomenal.  

I can’t tell you how good this new piece of theatre is: the music, the lyrics, the story.  And to see it acted and sung with such passion and enthusiasm; to hear the wonderful music from the live band; to come out crying after every single performance…there is no one involved in this production who doesn’t believe that it is something special, something above the ordinary.

One of the most consistent comments – though you heard it here first, last year – is that it belongs on a West End stage.  As I stand behind my camera each night and listen to the audience as they file out, many sobbing into their snotty tissues – men and women – I hear them saying it over and over.  People with no connection to the show rave about it; and they are right to do so.

Some reviews, personal and professional:

Ollie Mills’ and Rachel Mann’s masterpiece is beautifully poignant, thought-provoking and utterly authentic.

Chris Oatway, North West End

Scottish hard man Dougie (Jamie Rahman) gives a sweet rendition of ‘Being A Lad,’ and it’s a stony individual indeed who won’t be moved to tears (as I was) by the heartbreaking climax.    4 *

  Philip Caveney, Bouquets & Brickbats

I thought Alex really brought out the personal, but also universal, pain and intensity of the WWI horrors. As the show progressed, he displayed real pathos – having been excellent too in the earlier, happier, scenes. I thought both he and Sam made very strong leads. But then I felt the whole cast was strikingly good – having, I judge, been brilliantly prepared by [Ollie].   

A personal email to Paul from Roderic Dunnett, a professional reviewer, whose official review will be out shortly

Comments left on the official The Tree of War Facebook page:

Went to see one of the most amazing things I’ve ever seen today! Well done to all the Cast and Crew of The Tree of War you were AMAZING! You completely reduced me to tears.

Amazing piece of theatre! Really powerful.

Just got back from watching The Tree of War what a fantastic play each and every cast member played a brilliant part, it should go on TV or all around the country, well done to all of you, it was just brilliant.

It was, quite simply, one of the most powerful pieces of theatre I’ve seen. Oliver Mills’ score is brilliant and if he and Rachel Mann don’t make a cd I shall be really disappointed. The cast were all fantastic. Sam Gilliatt and Alex Cosgriff in particular. Remember Alex’s name. He’ll be winning Olivier awards one day. I don’t know if they have any tickets left, but if they do and you’re free, go!

Ollie Mills’ music was quite amazing.

If you live in the area, today is your last chance to see it.  There are a few tickets left for the matinée and evening and they are on special offer at £5 each on the door.  But booking online will guarantee you a seat.

Trust me: go if you can.  If you don’t, you will always regret missing the start of something big.

The Tree Of Bore

Performance Week is almost upon us!

I suspect my Facebook friends are sick to death of all The Tree of War posts I’ve been sharing – but I don’t care: it’s an amazing show and needs to be seen by everyone.  So there.

Blog readers have probably forgotten all about it, so here’s a recap: it’s a musical about life in the trenches, written by a vicar and a (then) university student. Here’s last year’s review of the preview show.  The show has been extended, with more songs added – including a solo for Bert.  It’s bigger, better and I’m bursting with excitement!  

For your interest, there are some cast interview links on the Facebook page (you don’t need to be on Facebook to watch them).  Excuse Alex, who – as his mother, I’m sad to report – sounds supremely unintelligent with his ums and ahs.  He’s saving everything for the performance.  No, really.  

Or you can listen to three of the songs. The cast sang at Manchester Cathedral two weeks ago and they sounded phenomenal.  

If you live anywhere near Burnage, do yourself a favour and go see the show (September 15-19).  You won’t regret it.  You’ll be calling it The Tree of Awe.

Review: ‘The Tree of War’

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Music & Lyrics by Oliver Mills.  Book & Lyrics by Rachel Mann

On Saturday afternoon, I saw the second-ever performance of The Tree of War.  I mention this because – well, have you ever been in at the start of something big, and known it was the start of something big?  That’s where I was at on Saturday afternoon.

The Tree of War is a musical about life in the trenches in WWI.  Written, scored and directed by a poet priest and a twenty-year-old music student, it was a community theatre project at St Nicholas’ Church in Burnage, funded by Manchester City Council.  A précis: Grandpa Bert tells his granddaughter the story of his time in the trenches.  That’s it; that’s the whole story.  And what a marvellous, rousing, moving story it was.

I had better declare an interest here: my son, Alex Cosgriff, played Young Bert – ladies’ man; loyal son; good friend; cannon fodder.  He played him well: his singing was wonderful; he really can act; I burst with pride.  But he wasn’t the whole play – a strong community choir and a good amateur cast was headed by Mike Law as Grandpa Bert: he was warm and cosy, sad and regretful.  Sam Gilliatt as Bert’s friend Greville has a voice with the sweetest tone, and his duet with Alex was a thing of beauty.  Jamie Rahman played Dougie McBride as a dour Scot; with a gorgeous voice, his solo sent shivers down many a spine.

The exploration of life in the trenches was well conceived – boredom, fear, letters to and from home; and the drinking…ah! the drinking!  The best number among a raft of great numbers was The Lads’ Drinking Song: bawdy, irreverent, rousing and huge fun.

The staging was excellent.  The tree of the title was out in the foyer, and that’s where the action began.  The audience stood to watch until directed to move into the trench area, which was set almost completely in the round.  We were in the trenches with the lads and shared their laughter and tears; their hopes and fears.  We could see their sweat and almost smell their breath.

In any play about the Great War, of course, the lads inevitably go over the top.  They disappeared to the sounds of mortar shells, through smoke and noise; and when it was finished and Young Bert lay huddled, terrified, guilty, sobbing, he had the whole audience riveted.  Tears for all of those boys flowed like their blood, and didn’t stop until after the final, whole ensemble’s rendition, specially arranged by Oliver, of Jerusalem.  As I fruitlessly wiped my own tears I heard a woman behind me say to her friend, ‘I can’t stop crying!’

If I have a criticism of The Tree of War, it is that it needs another twenty minutes and at least one more song – possibly a ballad for Young Bert – because it will have trouble getting to the West End otherwise.  And believe me, this is a play that deserves a wide audience.  If Oliver and Rachel don’t take it to Edinburgh next year, they’re mad.  They could take it at this length and then extend it when it gets picked up.  Look out for Oliver Mills because he is a massive talent.  To write such music and direct with such flair at his age…words fail me. 

After the show, I went up to congratulate Oliver.  I think I frightened him a little because I wanted to throw my arms around him and hug him to death; I settled for grabbing both of his hands and refusing to let them go while I raved about what I’d just witnessed.  I understand the impulse of the woman who clutched Alex’s arm and said, ‘I don’t usually grab strangers but I want to be able to say I touched you before you were famous.’

I want to be able to say I reviewed Rachel Mann’s and Oliver Mills’ premiere production of The Tree of War before it was a massive worldwide hit. 

You read it here first.