Inspirational War Drama Is A Triumph For Ely College

Ambitious in its scope and dramatic in its execution, for a school production Ely College's original drama 'Invisible Army' was quite simply inspirational. Crafted to shine a little light on the far too often overlooked contribution to the Allied cause by the forces of Poland during World War II, it succeeded in its aims thanks to a central narrative that conveyed the struggles of the Poles through a moving and personal love story.

Opening with the Allied victory parade through London in 1946, the play notes the muted celebrations of the Polish troops, who are confined to barracks rather than marching through the streets, hidden away by the politics of post-war Europe so as not to offend Stalin's Soviet Union.

Flashback to the balmy Polish summer of August 1939 and on the eve of war we are shown the first signs of a teenage love affair between Danka and Aleks. Invasions by both Germany and the Soviet Union throw their world into chaos and, through the eyes of these young lovers and their friends and relatives, the play goes on to tell the story of the trials and tribulations of the Poles in exile. Their trek through Eastern Europe and the Middle East culminates in a return to Europe for the bitter and bloody Battle of Monte Cassino, a pivotal moment in the stuttering Allied surge north through Italy and an assault won in no small part due to the brave endeavours of the Polish troops.

To get its message across 'Invisible Army' could count on a strong showing from its principals, Matt Symons and Kara Bailey, who play the lovers at the heart of the story, and a fine supporting cast, including confident appearances from among the quartet of narrators. Standout performances also came from Yvonne Litschel, Joe Day and from the precocious George Harrison, often the source of the play's lighter moments. However, the most fascinating aspect of this dramatic work is that its key inspiration came from the students and their own interviews with Polish war veterans.

Professional writer Mike Levy and Ely College's Brian Harvey and Lloyd Popp might have licked the thing into shape and given it form and structure, but they were working in tandem with a handful of students to construct a narrative from the many story ideas, sketches, scenes and interview transcripts that had originated from the students themselves. Quite rightly, Isobel Atkinson, Harsimar Atwal, Joe Day, Harry Humble, Chloe Kerton, Joe Sedgwick, Julia Yeates and Danielle Young were all listed as co-writers of the tale.

Criticisms of such an ambitious and impressive work can be few. At most, perhaps the play did not need the very brief and sparing interludes with Hitler and Stalin, which were used as a device to add historical context. The personal tale at the heart of the story was strong enough to survive alone, without this cameo by the great dictators.

The curtain call brought with it heartfelt thanks to the assistance of the Keystage Theatre Company and to the support of the Heritage Lottery Fund, whose generosity had bankrolled the school's professional approach to the show. It also allowed for a closing speech by a local Polish war veteran, who thanked the cast for the moving story, one he had believed he would never live to see told. He also expressed the hope that this play might go on to reach a wider audience than possible in Needham's Hall and there is indeed already talk of further performances in London and abroad.

A year ago Ely College seemed weighed down by a tarnished reputation. It was known largely as the school that made national newspaper headlines following the introduction of a zero tolerance disciplinary policy that dispatched several hundred children to detention in just a few days. There has been much good work done since then, but this play must be the finest achievement of a school that really has reinvented itself.

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