However this does not solve the matter entirely for bold brash and brilliant newspaper editor Kyle (Giles Fagan) as the Army’s own khaki kicking lawyer Kennedy (Sylvestra Le Touzel) has access to superior forensics and bears an indomitable passion to set the record straight for the Army she loves. On stage, Jack Phelan’s video design efficiently allows the audience to detect the inconsistencies in the reconstructed prisoner-abuse photograph to hilarious effect: the alleged victim in the staged photo bears a Millwall tattoo. Conor Murphy’s simple set design includes a revolving section centre stage with a table and chairs so the various interviews that form the majority of the action can take place clearly.
This play could simply be about sloppy attitudes within the media but it savagely opens up debate about the damage war does to the minds of army personnel. Discharged Barry, now condemned to a life on crutches, admits to committing irrational abuse yet he seems to be the biggest victim of all. Being an abuser is a truth he struggles to live with in writer Ron Hutchinson’s bravely told story. The last 30 seconds of this show has me hooting with a belly laugh before inhaling a sharp intake of breath with closed eyes for a shocker ending. Caroline Hunt directs a stunning piece of theatre.