couple bird 

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.

trench

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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