100 Reasons for War

A chaotic, mind-opening work that leads to numerous questions about the state of humanity—and our individual role in it—is the latest offering from The Actors’ Hub.

Written by award-winning playwright Tom Holloway and directed by Ella Hetherington, 100 Reasons for War was originally commissioned to mark the 100th anniversary of Australia’s involvement in World War I.

The play takes a tangential look at the reasons societies often find themselves in terrible and tragic conflicts. Funny, moving and provocative, 100 Reasons for War questions the multiple and complex reasons why war has become such a prominent feature in the history of humankind.

"It's a play grappling to find an answer, knowing full well there is no reasonable solution," Hetherington said.

"Don’t expect your regular sort of play!

"We need to think about the current state of the planet—our actions as a species and as individuals.

"We are at war with the climate, each other and even ourselves but, at the same time, we’re on a quest for world peace, as well as peace in our homes and peace within.

"The peace business is booming with meditation apps, sustainably-sourced yoga mats, essential oils, turmeric lattes and luxurious tranquility on remote islands retreats.

"Yet these wars with the world and in ourselves rage on, so are we really more peaceful?"

The main challenge, according to Hetherington, is finding character and drama in the open, post-dramatic text.

"But it’s also important to remain true to the non-linear form and absurdity within it," she said.

Originally training under Annie Stainer at Total Theatre, Hetherington has been working professionally across genres as a performer and writer, nationally and internationally, since graduating 13 years ago.

She has worked with Black Swan, Barking Gecko and ERTH Physical and Image Theatres, Force Majeure, Legs on the Wall, La Fura Del Baus, Bizircus, Renegade Productons and KDMindustries. 100 Reasons for War appealed to Hetherington because it was like nothing she had read before.

"It begins with the direction 'Characters: who knows' and 'Setting: don’t ask me' so, even before reading it, I loved it," she said.

"I love a good bit of playwriting anarchy and the feeling only grew.

"It is immensely challenging and offers a perfect text to explore the role of movement."