Oh What a Lovely War: form

Form - Overview

At its core, “Oh What a Lovely War” is an example of Epic Theatre, a form popularised by German playwright Bertolt Brecht and fully embraced by director Joan Littlewood.

Randomisation of events and characters is heavily utilised, turning the spotlight on the impacts and absurdities of war instead of developing individual character arcs.
The play utilises choruses in the Brechtian style, appearing in different roles to comment on the action.
Its form is a radical departure from realism, drawing on variety show traditions to engage the audience, employ comedy, and use music as a means of conveying political comment.
An important aspect of Brechtian Epic Theatre is the reflection of contemporary issues, and “Oh What a Lovely War” is no exception. Although it focuses on World War I, it reflects the concerns about current warfare and political decisions.

“Oh What a Lovely War” employs satirical song routines to juxtapose the jovial tunes of period music with grim realities.
From the title song onwards, the music is utilised as an ironic counterpoint to the horrifying statistics of war shown on stage.
The unrelenting use of popular songs of World War I achieves a Brechtian alienation effect, invoking emotional responses and critical thought on the themes of humanity and life during war times.
This irony culminates in the final song “Oh! It’s a Lovely War,” forcedly sung by the ensemble cast in a hauntingly tragic finale that underlines the vast number of war casualties.

The form employs pantomime and burlesque styles to provide comedic undertones to the grim subject matter.
Characters caricature political leaders and generals, emphasising their incompetence and indifference to the common soldiers’ plight.
This contrasting form ultimately serves to underline the play’s serious message about the catastrophic human cost of war.