As an NSTA representative, it was a distinct pleasure to attend ArtsEd London’s production of Oh, What a Lovely War! on the evening of Friday 6th March 2026. Under the astute direction of Samantha Dye, this production breathed new life into Joan Littlewood’s pioneering spirit, inspiring a vibrant ensemble to deliver a truly unforgettable performance.

First premiered in 1963, Oh, What a Lovely War! remains a seminal work of British theatre. Developed by Joan Littlewood’s Theatre Workshop, Charles Chilton’s satirical masterpiece utilises the jarring juxtaposition of a cheerful Music Hall aesthetic against the harrowing documentation of the First World War. By presenting the conflict through the lens of the working-class soldier, the piece offers a biting critique of the high command and continues to serve as a poignant, visceral exploration of the disconnect between the front lines and the home front.

This production was a triumph, remaining eerily relevant to today’s climate. The company’s balance of farce and gravitas was pitch-perfect, rendering the show’s commentary on the absurdity of war both devastating and darkly hilarious. The ensemble’s joy in performance was matched only by their technical prowess, particularly in show-stopping sequences such as the “Shilling Sisters.” 

A bold, rap-style opening set a contemporary tone for a wildly entertaining evening, with the ensemble’s unbridled commitment infusing every moment with infectious enthusiasm. The clever incorporation of kazoos added a delightful comedic touch, while the accent work was impressively authentic, elevating the already side-splitting characterisations.

This was a shining performance from this talented cast, but a few performances cannot go unmentioned, with highlights including the British General’s baton-twirling antics and the grouse-shooting scene – the latter being a masterclass in comedic timing and satirical execution.

As the MC, Wisdom immediately established a vibrant atmosphere, captivating the audience with his impressive rapping skills and electric energy. He demonstrated remarkable versatility, switching seamlessly between the MC, Trench Tommy, and Haig’s General. Each role revealed a unique depth; his command of the stage was absolute, effortlessly engaging the audience while striking a sophisticated balance between heartbreak and humour as Tommy. Wisdom brought a dynamism that elevated the entire production – a genuine delight to watch and a shining talent.

Elysse delivered a captivating performance, showcasing exceptional range and undeniable charisma. Opening the show alongside Wisdom, she set a lively tone that resonated throughout the evening. Her ability to transition between varied roles – including a French Soldier, a German Harmonica Soldier, and a member of the Pankhurst Mob – demonstrated a profound commitment to character. Elysse embraced each challenge with a blend of comedic flair and emotional depth; her comic timing was a particular standout, injecting levity into the narrative’s most poignant moments through rich, layered characterisations.

Beatrice’s versatility was similarly on full display. She navigated a dizzying array of roles, including an Austro-Hungarian official, Secret Police, and a Swiss Bank owner, with effortless poise. Her vocal contributions were a highlight of the production’s musical elements, where her stunning tonal quality and sharp execution of the choreography further underscored her multi-faceted talent.

The pupil-led creative team must also be highly commended; their input was clearly instrumental in shaping the show’s aesthetic. The creative use of the performance space, the monochrome costume palette, and the striking face paint effectively established a Brechtian atmosphere, inviting the audience to join in this macabre dance of war.

This sizzling revival of the 1963 satirical revue is a testament to the power of collaborative theatre, blending energy, wit, and poignancy in a way that is both electrifying and thought-provoking. The production successfully navigated the complex tonal shifts required by Littlewood’s original vision, ensuring that the biting social commentary remained at the forefront even during the most raucous musical numbers. By refusing to shy away from the play’s inherent grit, this talented company created a piece of theatre that felt profoundly urgent. The technical precision of the ensemble resulted in a show that was as polished as it was impactful. It was a privilege to witness such a sophisticated handling of a theatrical classic, leaving the audience with much to reflect upon long after the final curtain.