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6 August 2026
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5*****
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Well into the 21st Century, the writings of George Bernard Shaw seem to drift in and out of the consciousness. ‘Pygmalion’ apart, productions of his work are far from commonplace, as they once were. When the chance to see one comes along, then people should take the plunge and see it – especially when the performances are as strong as in this latest offering from Gilroy Theatre.
‘Arms and the Man’ must be one of Shaw’s most charming plays, but, like many others from his oeuvre, there is substance behind the apparent light-heartedness. The futility of war, the class system and fantasy vs realism, all play a part in the play which was first performed in 1894. Originally set against the background of the short Serbo-Bulgarian War, the play has courted controversy, particularly in Bulgaria – as recently as 2024. When Swiss mercenary Captain Bluntschli takes refuge in the bedroom of the wealthy Raina, her feelings about her engagement to Major Sergius and to her life and family change as her ideals are challenged.
In this wonderful production, director Su Gilroy has altered the location to Ruritania – it’s somewhere, yet nowhere, but can be anywhere – the themes are universal. The success of the play hangs on the opening act and the lengthy scene between Raina and Bluntschli – if these characters aren’t established well from the off, then the production will not succeed. Jessica Olim gives the most delightful performance as the strong-willed, occasionally priggish, but always romantic Raina – full of nuance and humour. She is well matched by Tom Everatt as Bluntschli, the epitome of a romantic lead, self-deprecating and warm hearted – it is an outstanding performance. The two have great chemistry and you know immediately you want them to win out in the end.
As the insufferable, vain and idiotic Major Sergius, Hayden Coward illustrates exactly how to gather the comedy in a character – it is a full-voiced, incredibly funny performance – tremendous on every level. Andrew Fettes as Major Petkoff, does bluster and bumbling so brilliantly, you feel you could watch him all day – his timing of a look or a word, is exquisite. The wife wears the trousers here and, as Petkoff’s, fierce wife, Victoria Porter makes the most of every possible facial expression to get the audience on her side. Jodie Glover is wonderfully wise and strong as the maid who would rather not be bound by class and James Taylor-Thomas has a super cameo as the servant who just seems to want a quiet life.
This is a super cast who get so much from Shaw’s script and from the direction – Su Gilroy allows the actors to push the, sometimes, overly melodramatic passages just far enough to get the laughs.
The setting is a little rough and ready in places and maybe less refined than might be expected, but it is representative and just a background to the writing, which is centre front. The delightful music, composed by Colin King adds a really lovely accompaniment to the play throughout.
The production has a deeply romantic, almost fairy tale feel to it – it is a really joyful experience and is one of the best performed plays I have seen recently, from a first-rate cast. A feather in the cap for Gilroy Theatre and should have people flocking to the Marine Theatre to discover, or re-discover this comic treat.
Cast
Catherine – Victoria Porter
Bluntschli– Tom Everatt
Raina – Jessica Olim
Petkoff – Andrew Fettes
Sergius – Hayden Coward
Louka – Jodie Glover
Officer/Nicola – James Taylor-Thomas
Creatives
Writer – George Bernard Shaw
Director – Su Gilroy
Lighting and Sound Design – Steve Miller
Set Design – Robert Sherwood
Stage Management – Tom Neill & Eddie Comerford
Production Assistant – Gary Fish
Costume Assistant – Grace Dudzicki
Composer – Colin King
