Review: Paul Rouckchan’s ‘Once on Chunuk Bair’ Delivers Powerful New Zealand War Story

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"I don't think I was meant to be a hero"

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by Maurice Shadbolt

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“Only one word for them – heroes”

Award winning director Paul Rouckchan is clearly invested in bringing out the human elements of a battle remembered as one of bloodiest moments in NZ military history. The direction is skilfully focused and the management of the stage space was perfect. On the five day offensive at Chunuk Bair, New Zealand suffered 880-900 deaths and over 2,500 wounded. The Wellington battalion, who are so superbly portrayed in this play, were specifically decimated on the morning of August 8, 1915. This is a slice of history that should not be forgotten, and the precisely executed direction of this play ensures that we will become invested in the lives of these thirteen men, and we will mourn their loss. We will remember.

As the director comments, this is a “deeply human story about identity, sacrifice, and a moment when a young nation began to understand itself. It was the first time New Zealand entered global conflicts, at a time when the old Empire, “tradition and inherited military thinking was suddenly forced to confront the brutal realities of modern warfare.”

The curtain opens on a superbly executed sandbagged set ( Scott Thomas ) that successfully captures the Sari Bar Range, the crucial summit that overlooked the Dardanelles and the Turkish lines. Immediately we are drawn into the pathos. Dead bodies, dysentery and a determined optimism. Smiler (Hamish Davies) and Parky the smart-ass (Jared Abel) create an immediate credibility.

Despite the grim reality of their situation, the soldiers rely on a sharp, ironic wit and moments of cynical humor to keep their spirits from sinking. Even as they face the relentless discomforts of trench life, including lice, dehydration and hunger, their banter and jokes help to momentarily outflank despair. These flashes of dark humor not only serve as a coping mechanism but also highlight the resilience and camaraderie that bind the men together amid the chaos of war.

Each of the soldiers is superbly crafted through little nuances and superbly detailed characterisation: Connor Charlesworth is Mac, assured but fragile; Scott Cutler is Holy, the man of faith who finds himself enormously challenged by inhumanity and injustice; Daniel Rundle is young Fred, desperate to be allowed to do more; Sam Cutler is young, naïve, eager Scruffy who dreams of home, the simple kiwi things like fishing in Lake Taupo. These with Lofty (Jonathan Dunn) , and Nobby/Dusty ( Jack Hanrahan) represent the collective effort and tragic loss of young life. His cries for “water” genuinely caught the pathos of dying of thirst. Otaki George ( Jordan Wallace-Leaf) reminds us that the Maori were integral to the NZ Forces of that time. The programme notes that Jordan is portraying his own great-great-uncle Harding Waipuke Leaf – a powerful reminder that history is not as distant as we imagine.

Of note in this historical regard is the signals man Bassett (Chris McRae) . Cyril Bassett, who died in Stanley Bay in 1983 aged 91, was the only soldier serving with the NZEF to be awarded the Victoria Cross in the Gallipoli Campaign.

Exceptionally powerful performances from Michael Hallows as Sergeant Frank who is battle hardened, the obvious backbone of the battalion; from Francis Mountjoy as Lieutenant Harkness, the idealistic military man who matures through the sheer terror and courage he needs to find on the real battlefield! And, of course, from Karl Buckley as Colonel Connelly. He is tough, fair, and a leader trying hard to hold his men together against impossible odds.

This is a conflict of real men put into survival mode, a mode in which they must learn to trust and support each other. They play cards, they listen, they write to home, they help each other believe in an alternative ending, they encourage, they sit and wait in silence, they take responsibility. As we watch this play unfold, we can not help but be invested in their lives and this terrible predicament. We know, as they did, it is just a matter of time. It’s not “orders for men to attack, it’s orders for men to die.”

Excellent work from the creative team. The props (Vettina Ross) and wardrobe ( Suzy Sampson, Kathy Gent) has been painstakingly resourced. The playing cards are from 1915! Lighting and sound (Stephen Hood) , Makeup and special effects, managed by Cody Cope , further solidify the authenticity of the experience, bringing a visceral quality to the scenes of conflict and loss. Together, these elements cement the emotional resonance and overall impact, ensuring the audience feel the depth of the story being told. Several in the audience found themselves with tight throats and tears. The final minutes of the play are intensely dramatic and will stay with you long after the curtain call.

The world of live theatre is always engaging. This is a superbly directed, expertly performed, atmospherically rich and powerful production that shouldn’t be missed – by anyone . Lest We Forget.

On until May 23 at the Rose Centre, Belmont.

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_Originally reported by [BroadwayWorld](https://www.broadwayworld.com/new-zealand/article/Review-ONCE-ON-CHUNUK-BAIR-at-Company-Theatre-At-The-Rose-Centre-Belmont-20260508)._