Review: THE BATTLE - Birmingham Rep (17/02/26)

Plenty of rock 'n' roll grit in this homage to BritPop

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The BritPop movement dominated the UK music scene in the mid to late 1990s, with bands such as Pulp, the Verve and Suede providing a welcome departure from the dominance of the doom and gloom of the American grunge scene helmed by Nirvana and Pearl Jam. At the very epicentre of this cultural and political reawakening was the rivalry between middle class Blur, and working class northerners Oasis, as they engaged in a direct dogfight for sound-wave supremacy.

A debut theatrical exponent of Scottish writer John Niven, "The Battle" takes place largely over the course of the weeks in 1995 leading up to the release of singles by both BritPop behemoths, one being the best selling single Country House by Blur, and the other, Oasis' comparatively lesser known track Roll with it. Anyone who knows anything about this tussle for the top spot will know how it ends, however this play focusses more on the journey both groups take to get to this ultimate outcome, which is where much of the intrigue and suspense is built. Niven's text, combined with direction by Matthew Dunster, is gloriously gritty, and doesn't shy away from highlighting the contention and friction that existed between both groups, and even within their own camps at times.

Oscar Lloyd and George Usher (credit: Helen Murray)

Though many of us may well have initially felt irresolute as to why one would write this as a play rather than a musical, especially given the considerable draw of both bands' back catalogues, the decision to steer clear of selling out commercially was decidedly the correct one as, instead of giving it that sense of self-indulgence, the focus is instead kept squarely on the characters, and their plights and interactions. Dunster has clearly endeavoured to ensure the likes of real life figures such as Andy Ross, Graham Coxon, and the Gallagher brothers were to be instantly recognisable, yet simultaneously quasi-fictionalised. This gave those depicting them more creative warranty to express themselves, however we never feel like they are half-hearted impressions or cheap caricatures, rather maintaining honesty, depth and humanity at the core of their respective portrayals.

Before we go any further, it must be highlighted how well balanced all of the creative elements are in this production, especially when it comes to the incorporation of audio (Ian Dickinson) and video (Tal Rosner) elements utilised during scene transitions, with archival audio clips from past BBC radio broadcasts combining exquisitely with John O'Connor's marvellously humorous animation style, perfectly satirising the looming presence of the media during the whole affair. This helps both centre us in time, and provide further exposition to clarify the state of affairs in which we find ourselves at any given moment, meaning we remain fully contextualised and engaged within the narrative.

The cast of "The Battle" (credit: Helen Murray)

More than anything though, the distinct disparity between clean cut, middle-class Blur boys, and the angst driven, unrepentant working class lads from Oasis, is clear to see. Taking on the hot-headed, unpredictable Liam Gallagher, we had a simply outstanding professional debut from George Usher, with brother Noel portrayed quite brilliantly, and with a maturity and nonchalant swagger by Paddy Stafford. It was always a delight to see the pair butt heads, as we were always drawn in by their on-stage relationship, with Stafford offering ice coolness to balance with Usher's fire and fury. On the opposite side of the BritPop divide we have Will Taylor as Graham Coxon, and Oscar Lloyd as Damon Albarn, arguably Blur's most creative driving forces; the pair showcase their far more measured and calm, yet equally compelling performances, and compliment each other magnificently well.

Whilst the music in and of itself doesn't feature prominently, it is still utilised to great effect as a transitional device or as a means of grounding us, but certainly comes into its own during the show's epic climax. The build from the initial butting of heads at the Brit awards to this final showdown is palpable, and although details of this climactic scene I cannot reveal at this moment, it is bound to ruffle a few feathers, and provide a smorgasbord of food for thought as one exits the venue.

"The Battle" is a dynamic, potent trip down memory lane for anyone who was present, waiting with bated breath at the radio as Mark Goodier announced the victor that fated day. There may well have been precious few in the audience who didn't know the ultimate outcome, but the journey we take to get there draws us in effortlessly with its mix of terrific humour, frayed tensions and unfiltered personalities. The real winner though has to be music itself, as this loch ness monster of a conflict reignited the country's love for great tunes, which is showcased spectacularly in what is a quite sensational theatrical writing debut for Niven.

★★★★☆ (4*)

"The Battle" runs at Birmingham Rep until the 7th of March (tickets)

{PR/Gifted tickets}