All Quiet on the Western Front: Theatre that echoes the battlefield

The floor of the theatre rumbled as the speakers let out the guttural noise of guns and bombs. Left and right, audience members began covering their ears. 

The booming sound travelled to your feet faster than it got to your ears. But above all, you felt the thud in your chest, because the sound of war always translates to danger. 

It didn't matter if you were listening to a pre-recorded audio clip in the safety of a theatre hall, some sounds invariably end up triggering your fight or flight system.

This sound and its resulting string of emotions was how Tarua's adaptation of 'All Quiet on the Western Front', welcomed a hall full of people on 23 April. 

The playwright is Runa Kanchan and directed by Bakar Bakul, the anti-war play explores the futility of war during a time when the message is as relevant as ever. 

The two-hour play has more shows, one took place yesterday while the other one is scheduled for 7PM later this evening at National Theatre, Bangladesh Shilpakala Academy.

The story was originally adapted from Erich Maria Remarque's novel of the same title, which has also inspired multiple film adaptations. 

Set during World War 1, the story follows Paul and his idealistic peers as they join the army. Reality sets in not too long afterwards as these young men face the trenches, turning adolescent optimism to anxiety, dread, and trauma. 

In 2023, the film went on to win the Academy Award for Best International Feature Film. 

So, it is safe to assume that the play attracted both the avid theatre-lovers and longtime fans of the movies and the book.

As the lights faded and the final bell rang, snapping the audience back to reality, the crowd was left speechless—moved and in awe of the emotional journey they'd just experienced.

It is hard to imagine a well-loved movie being adapted as a play, much less a book, as the medium demands the plot to remain concise and simple. However, the production uses tactics and its skilled team to bring such a complex story to the stage. 

The production truly shines in its technical applications. The lighting is the protagonist in this play, and it helps carry the story forward without stumbling. The introduction and buildup of the plot are shown in what feels like glances. 

During the buildup, as the lights fade out and back in from one scene to another, we see the progression of the soldiers' lives. 

In one moment, they are school students, and in the next, they are putting on their army uniforms—all of this is made seamless through the use of lighting. 

Furthermore, the glowing red light that comes on as the soldiers enter the frontlines creates a sense of dread. As bombs go off, the stage lights flicker, mimicking an explosion.  

The production also brings a sense of grandeur to the stage with its props—particularly the pendulum. It appears almost like magic as a large pendulum drops onto the stage, marking the final moments of the soldiers' lives. 

The actors do a remarkable job breathing life into their characters. In even the subtlest moments, you can sense their growth compressed into the span of the play. They begin as carefree schoolboys, their movements loose and unbothered, untouched by the weight of the world. 

But as the story progresses and they undergo intense training, their once-clumsy salutes turn stiff and jarring—especially when compared to the exhausted, battle-hardened soldiers who've already seen the horrors of war. These small but powerful details highlight the tragic transformation of ordinary boys into fighters on the frontlines.

Though the play was filled to the brim with impressive, picturesque moments, Jarin Chakma's panic attack is seared in my mind. As the sounds of war and arguing grow louder, so do the actor's frantic movements. He huddles and gasps for air, trying to grasp a moment of relief. The actor's commendable performance highlighted the mental state that war puts individuals in.

The dialogues and the story strike a chord with the current times. While watching the play, your conscience may flicker between the story on the stage and the headlines we see each day. In one particular scene, as the soldiers are enjoying their long-awaited meal, they have a conversation about the war. 

Younger soldiers ask why there is a war in the first place—a clear sign that many of these soldiers have no idea what they are fighting for. The whole concept of war is absurd to them, how one nation "insults" another, resulting in a fight that these innocent men had to draw arms for. 

And that is the whole point of the play. It is clear from the newspaper-style leaflet you receive upon purchasing your ticket, with headlines about Palestine and Ukraine printed in bold letters. This is their way of saying—just like Paul said —"War is nothing but murder."