Review: Farm Hall

Farm Hall by Katherine Moar immerses us in the summer of 1945 – a crucial moment in history following Hitler's defeat and the Allies’ impending World War II victory. The play centres on six renowned German scientists, held at Farm Hall estate in the UK, aimed at extracting their knowledge about how close Germany got to developing an atomic bomb. These scientists, seized before completing their research, grapple with the dilemma of revealing their progress. The tension intensifies when they learn the United States has successfully created and used an atomic bomb in Japan, leading to a shocking realisation of the potential devastation their work could have caused.

This historical backdrop adds a profound layer of intrigue to the play, inviting us to delve deeper into the moral dilemmas and ethical questions faced by the scientists as they come to terms with the reality of their situation. Their sense of culpability and the weight of history hang heavily in the air, providing a captivating backdrop for the drama.

The play is exceptionally well-written, showcasing the author's talent for crafting engaging conversations. The plot of the play unfolds at a slow but deliberate pace, there are few moments of intense action. Instead, it centres on the reactions of the characters to a significant piece of news and their responses to their own perceived failures. Despite the slow pace, the play's structure is commendable, following a classic narrative pattern that ensures a smooth and gradual build-up of tension.

This thought-provoking exploration of the moral and ethical dilemmas faced by the characters in the context of the nuclear bomb's development makes it a compelling choice for students. Its historical backdrop further enriches the narrative, appealing to history enthusiasts who may find it captivating. However, for the average teenager studying GCSE or A Level Drama, the play's historical dimension might not hold the same level of appeal. The characters in the play are all older white men talking about their past mistakes, making it challenging for young audiences to connect with or empathize with them.