This ode to the Black soldiers who were erased from British narratives of WWI and WWII is still a work in progress but has the potential to be brilliant. The different scenes, though individually powerful, don’t quite glue together yet. But it’s a piece that director/choreographer Alison Ray has had in her mind for ten or even 20 years, she tells us at a post-show Q&A, and it’s this rich multitude of ideas that needs harnessing into a single cohesive work more clearly. 

A cast of three dancers, all with charismatic stage presence and clear, expressive styles of moving, weave together episodes that are sometimes explorations of theme and place (a duet between two men portrays the choreography of soldierhood with forceful lines and balances of support) and sometimes historical narrative integrated with movement. Performer Lauryn Pinard tells us about WAAF member Lilian Bader, as she plaits the hair of another cast member. Theophilus Alade (co-choreographer) introduces us to RAF Squadron Leader Ulric Cross, snapping his heels to attention and saluting. All this is accompanied through live music, including flute and berimbau. 

The parts that really shine theatrically are when Ray demonstrates the links between classic war emblems that have been part of the narrative all along and Black culture. At one point we are all invited onto the stage in a giant, uplifting Lindy Hop-Charleston, celebrating the dances African American GIs brought to Britain. At another Pinard sings a wartime song in the spirit of Adelaide Hall, an ENSA captain who entertained troops. 

Ray’s hopes are to tour the piece to the Caribbean and Africa, to share these stories with people who have never heard of the heroism of their ancestors. It is such an important production with a solid core of integrity. Provided with the right funding, The Unknown Soldier has the potential to develop into a magnificent piece.

The Unknown Soldier, Army @ The Fringe, until 27 August, 5pm.