Don't, for God's sake, come back alive 'cause we don't want to see your ugly stumps and your ugly scars. We don't want to hear your midnight screams and tales of hell. We all got along nicely without you, thank you very much, and now you're back you remind us things we'd much rather forget. More convenient, ain't it? To have a dead hero. A dead hero don't have complaints. A dead hero don't even have a voice.
Jack stayed on when the guns fells silent, to search the battlefields for the boys that could not go home - for the dead and the missing, for both enemy and friend. And amongst the rusty wire and unexploded bombs, Jack is looking for something - looking for someone. He has a promise to keep and debt to repay, and now there is this strange request from the generals.
A story of comradeship, betrayal and of promises both broken and kept following the carnage of World War One from the acclaimed writer ofCasualties, Ross Ericson. It received its world premiere at the Edinburgh Festival Fringe 2015 before embarking on a UK tour.
Ross Ericsonis an accomplished British actor and writer. His other plays include
Casualties,an adaptation of
Henry Fielding's novel
Tom Jones, Punchline,
Lifeand
The Autumn of Han.
Strong writing, an original approach and a sensitive performance bring fresh power to a reminder of the horrors of war Stage
It's not about glory or futility, it's about the loyalty forged between friends . . . Ericson's writing is strong to give it vividness, and he does a good job of expressing a range of emotions, from despair to wry humour Scotsman
[The Unknown Soldier] runs for around an hour and, during that time, I didn't feel for one moment that I was not in a bunker, in the trenches, sharing the mud with a body and soul tired soldier. Written and performed by Ross Ericson, I valued the direct style of a monologue in which the solo performer addl“Y
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