Earlier this semester University of Southampton English students taking an introductory module on the history of theatre and film had an opportunity to review Howard Brenton’s hugely popular play, The Shadow Factory, at Nuffield Southampton Theatres. Irati Aguirrezabalaga Berra writes in detail about how the plot and set work in tandem throughout the show.
In a world where the culture of the aesthetically pleasing is stronger than ever, The Shadow Factory is a true delight for the eyes. Written by Howard Brenton and directed by Samuel Hodges, this play takes us to 1940’s Southampton, where the first signs of war are surfacing, and walks us through how this event affected the local residents.
I had the pleasure of watching both the dress rehearsal and the premiere. I’ll admit that after the dress rehearsal I wasn’t sure of my thoughts on the play. Aesthetically speaking, it was undeniable that the visual impact was strong. Although minimalistic at first glance, the setting does its job splendidly. The stage is just an inclined square, and there are several tubular lighting rods hanging from the ceiling. It might not seem like much but believe me when I say that those rods and how they move are the most mesmerising elements of the play. This combined with the musical numbers and the projections on the stage make the play a captivating experience visually speaking.
However, in contrast with the setting, the plot seemed dull and not quite at the peak of its potential, definitely in the shadow of the aesthetics of the play. I felt disappointed, but that was until I watched it again on the premiere. What seemed like a boring plot full of references directed to local citizens of 
Southampton became a subtle criticism to the invisible effects of war. Instead of showing the big picture, the heroic deaths and the big battles, the play portrays how the smallest things, which seem to the spectator a questionable cause to fight for (-ehem-the laundry-ehem-) are the whole world for the civilians. It shows how the needs of a country clash with the lives of the citizens during the war, and this is a refreshing point of view to the overused war theme.
I’m not going to lie. Some of the character’s motivation did seem rushed and not justified enough, but overall it was a good play. If you watch it and feel as if the plot is unfinished or anticlimactic, give it another chance. Once you get past the aesthetic high, the details of the plot that were under the shadow of its visual impact will start to make you appreciate it even more. I’ll admit that it is an acquired taste, but it is definitely worth it.
The Shadow Factory runs until the 2nd of March at NST City. Book tickets here with student tickets starting at £10!
