JADAR

★★☆☆☆

After a not so accidental singles clash in 1995, Oasis and Blur battle it out to become the number 1 Brit-pop band in what became the biggest musical skirmish since the 60s. It was a class and genre war like no other, pitching the cocky working-class Northerners against the artsy middle-class Southerners. With increasing media frenzy, public stipulation, and bitter rivalries, who would be victorious?

Before the show I was hopeful but apprehensive. Like Dear England, The Battle is a part of a quirky niche in theatre. It’s the type of show where I ask myself: Would their fans be interested in theatre, and (to the same tune) would theatre fans enjoy something so niche? After seeing it, I’m left just as perplexed… Who is this for?

It’s a case of interesting concept, terrible execution. The story has potential, taking audiences through some of the bands’ memorable conflicts, the media’s reaction, and key moments in their bravado-fuelled showdown. Sadly, its bogged down by boring dialogue, mind-numbing interactions, and a range of hit-and-miss jokes. The quote about preferring to watching paint stay wet felt rather apt.

Admittedly, there are a few great zingers with some funny Risotto-related call-backs, regional humour, pop-culture references, a few amusing puns, and some tongue-in-cheek insults. However, the comedy is constantly undercut by a slew of homophobic and racist tropes played as “jokes”. If you really think Nazi salutes, Kamikaze pilots, and AIDS deaths can be classed as moments of levity. Of course, I understand that the script is drawing from 90s dialogue, but shouldn’t theatre develop with the era? Why should bigotry become the core of a piece? Regardless, prior light-hearted moments are stalled by these tasteless remarks.

Characters feel a tad flanderised from their real-life counterparts, perhaps exaggerating in an attempt to heighten the comedy? Despite this, I particularly enjoyed the performances of George Usher (Liam) and Paddy Stafford (Noel); their mannerisms and accents were amusing, as were some of their more volatile brotherly interactions.

The show was a technical shambles with ugly white and beige framing, clunky transitions, microphone static, and one horrendous blond wig. Blinding lights and flashes of abstract videos are joined by startlingly loud music, seemingly designed to wake audience members up between eventless narratives and to distract from the tediously monotonous (and visible) set changes. The backdrop screen also displayed dates, pictures, and a few strange animations.

Act one finished strangely quick, but that’s nothing in comparison to the show’s mind-bogglingly bizarre conclusion… the reason the show is “based (mostly) on real events”. After the victor is announced, there’s the most jarring change in pace and tone that I’ve EVER witnessed. (Spoilers ahead). The Gallagher brothers are draped in darkness before commencing a surreal massacre, synchronised with bloody animations and on-stage halberds, sabres, flails and bloodied heads. This is followed by Liam’s parody of a Shakespeare soliloquy, before the cast reunite with the show’s only live song and sing-along (Take That’s ‘Back For Good’). As much as I love Gary Barlow and appreciated the oddly well-made angel costume, it was hard to get over the whiplash of these scenes and practically impossible to piece together any semblance of cohesive meaning. Was it just trying to be funny? Was it a joke about the absurdity of media frenzies and capitalism? Is it suggesting Oasis won in the long run? God only knows.

Between the unengaging set and lacklustre storytelling, The Battle felt more like The Prattle, characters endlessly rambling in a two-hour blur. It has fleeting glimmers of redemption but is otherwise weighted with mediocre tales, clunky staging, and uncomfortable jokes.

The Battle runs at Opera House Manchester until March 21.