In Their Footsteps by Ashley Adelman Reviewed by That Guy in the Foyer, John Doherty Tues 8 Mar – Sat 12 Mar: 6 pm The Bakehouse: Main Stage. Verbatim Theatre can be a hit or miss affair veering into either dry didacticism, or overly sentimental dross. Ashley Adelman’s beautifully crafted, In Their Footsteps, under the astute direction of Carly Fisher, is most certainly a hit! Aptly opening on International Women’s Day, this thought provoking, warm, informative and, sadly, timely production…” reminds us of the histories we hear...and importantly, the ones that we don’t.” This is an important piece of theatre. Entering the auditorium, we are immediately transported to the Vietnam War during its mid to late 1960s phase, Jimmy Hendrix’s unmistakable sonic trade mark affording us no option but to go there. Two American women enter from the back row, a refreshing device, and we are drawn further into the zeitgeist by these women’s engaging, direct invitation to journey with them into their experience of the extent of the involvement in a conflict as toxic as that currently unfolding in Ukraine. As we travel into this past. Convincing accents and distinctly American mannerisms drew us further into a time when the Star-Spangled Banner was enough to urge patriotic women to head to the other side of the world to “support their boys.” And as we travel with them into this place, the strength of Adelman’s ability to frame verbatim speech evident. An uncredited inventive set design consisting of a few well placed military style crates, five utilitarian stools , colourful flower arrangements, a raised platform draped in white, and backdrop of translucent curtains creates an effective, if somewhat disorienting, setting. Characters address the audience directly and move seamlessly in and out of re-enactments of enlistment or recruitment, hospital wards, the 1968 Tet Offensive, a services R & R club, a Military Intelligence bunker, rooftop bars and helicopter rides. The set is well complimented by effective lighting, the unfolding narrative punctuated by aptly selected sound effects. But it’s the cast’s performance in bringing Adelman’s elegant arrangement of actual recounts to life most deserving of recognition. There is reverence for the reality of these stories evident in these performances. Remarkable women’s tales are brought into frame; stories of a delightful Donut Dolly (Sonya Kerr), whose onerous task is to remain cheerful at all times- a librarian (Linda Nicholls-Gildy), an Intelligence Administrator (Rowena Robinson), a Special Services Officer (Nola Bartolo) i.e. entertainment, and nurse (Susann James), all working too close to a Front that often found its way into their immediate vicinity. The SSOs recount of a VC ambush after which, among the dead, she recognized the body of a man who had cut her hair but a few days prior is chilling. Warmth, humour and kindness permeate this work as it follows these women from the moment of their recruitment, some with somewhat naïve motivation, through their harrowing tour of duty, to their return home. These are stories we have not heard simply because they are stories of women, women who saw and experienced the trauma of war. Yet, as we are informed, there is no official recognition of many of these women because they were not enlisted in a Military Service. In closing, the characters gently place their dog tags on a stool and exit, we hear recordings, the words transcribed into the dialogue we have heard, the recollections of the women honoured by this work. It’s a poignant end to a powerful play. Thank you to Carly Fishers company, Theatre Travels, for bringing this theatrical treat to the Fringe But the season is all too brief! Don’t miss In Their Footsteps!