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Pictures: Pamela Raith Birdsong Birmingham Rep ***** The current
touring production of
Birdsong
celebrates the 30th anniversary of the highly acclaimed and much-loved
novel by Sebastian Faulks. This is a production very close to my heart,
having seen it twice on previous regional tours, with Rachel Wagstaff’s
adaptation with Original Theatre and having directed it myself for
Sutton Arts Theatre back in 2018. This new adaptation, directed by Alastair
Whateley is extended by about 20 minutes into a three-act play, with two
intervals and to an extent does not follow the same flashback pattern as
the original. The set design by Richard Kent, is simple, with wooden
slats and a ceiling that lowers. The lower wooden panels, painted in green didn’t
blend for some of the scenes set within the trenches and underground but
overall worked well. In the main, the lighting design by Jason Taylor
was atmospheric, although to add to the sense of claustrophobia some of
the tunnel scenes may have benefitted from being slightly darker. The first scene of Act one begins very
differently, in the present day, where we are introduced to Stephen
Wraysford’s great-grandson, John in search of a gravestone. We are
quickly transported to Amiens, France in 1910 to the home of factory
owner, René Azaire, his wife Isabelle and daughter, Lisette from a
previous marriage.
Stephen Wraysford arrives from England to learn
about the textile factory and is an unwanted presence for René whose
business is in crisis and threatened with closure. We quickly see that
the cruel treatment towards his factory workers also extends to his
wife, who he punishes for being unable to bear him a child. Charlie
Russell gives us a deeply unhappy Isabelle who just longs to be loved
and Stephen’s interest and kindness towards her, quickly leads to the
beginning of a passionate affair. The initial connection between the pair was
underplayed and perhaps less believable than it should have been. As
such, their first sexual liaison, albeit very passionate and
well-choreographed (with full nudity) felt like a big gear change, as
the build-up to this lacked those subtle moments of chemistry. The first
act was interspersed with some lighter moments, from Lisette, Jeanne
(Isabelle’s sister) and the Azaire’s overbearing and tiresome family
friend, Bérard. There were some good performances throughout the
first act and although the audience get the sense that the impending war
is looming, I felt that the loss of flashback scenes between Amiens and
the war, resulted in a lack of impact, compared to the original
adaptation. The story explodes into life in Act two as we are
thrust into the realities of the World War I trenches and underground
tunnels. We see a different Stephen, the now, Lieutenant Wraysford
(James Esler) as he prepares to lead his men in to battle and we follow
the central storyline of sapper, Jack Firebrace (Max Bowden). Standout
scenes, include the letter from Jack’s wife, Margaret, where we learn of
the death of Jack’s son, John; read to him by his comrade and best
friend, Arthur Shaw in an excellent performance from Tama Phethean. The partnership between the two is genuinely moving and believable. Then, on the brink of the battle of the Somme, each character writes a letter home, in a phenomenally heartbreaking scene, emotionally charged with sadness and fear, not a dry eye in the house (including mine). The poignancy of the scene is heightened further
by the incredible music and ensemble vocals, led by James Findlay
(Brennan). Special mention must also be given to Raif Clarke (Tipper)
and Joseph Benjamin-Baker (Evans/Levi) who both gave fantastic
performances. This is certainly an ensemble piece of theatre with some
strong performances in multiple roles. The final act ties up the individual storylines
whilst holding a mirror up to the horrifying devastation and brutality
of war. We see a relationship blossom between Stephen and Jeanne, in a
lovely performance from Natalie Radmall-Quirke, who brings much needed
light into his dark world. Both James Esler (in his first professional role)
and former Eastenders actor, Max Bowden deliver outstanding performances
throughout, complimenting one another perfectly and bringing the play to
a moving climax in their final tunnel scene with a totally convincing
partnership of mutual admiration and respect for one another. Birdsong is often described as a powerful war time love story, and it is, but it is so much more than that and certainly stands the test of time. As the play ends, we are reminded that none of us will ever truly understand, will ever truly know what it was like and that couldn’t be truer. To 01-02-25. Emily Armstrong 28-01-25 |
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