Writer: Sebastian Faulks
Adapter: Rachel Wagstaff
Director(s): Alistair Whatley & Charlotte Peters
Reviewer: Dominic Corr
“Never again”; the imperative words uttered regarding the First World War. Yet, in the darkest moments of human history we find an enticing light to the subject. Whether it be through respect, education or simply guilt, the lessons we garner from these times are urgent. Adapted from the 1993 novel of the same name, Birdsong seeks to reignite our respect and recover history.
Beneath the moaning earth, littered with the fallen, an entirely different war was waged. Tunnels, some 100ft below No Man’s Land, carved out by British, French and Germans attempting to lay explosives below the other. Dug by ‘sewer rats’, men who dug out the London undergrounds, men like Jack Firebrace (Tim Treloar) aching for news of his son in London. Still soldiers in their own right, risking their lives in multiple ways just as those above the surface did. Laced within this narrative are flashbacks to the rumbles of war, as Stephen Wraysford (Tom Kay) arrives in France. He finds a gleam of light in the shade, Isabelle (Madeleine Knight) a married French woman.
Differing from the novel, focusing more on the stories of Wraysford and Firebrace is a respectful turn as opposed to their descendants. It eases the narrative, driving our attention into the correct areas. The fuse takes time to smoulder, and you’ll certainly find it easier to connect with one character over the other. Yet in the grand scheme their fates are entwined to the audience’s receptiveness. Deeply moved by the outcome, even with characters we hadn’t entirely warmed to.
A touching thematic exploration of fatherhood is conducted through the larger role of Firebrace. Treloar embodies the spirit of a father, the centre of his garrison keeping the men jovial and the young brave. Balancing this are Knight and Kay whose passions betray otherwise icy exteriors. The fleeting moments of fondness one seeks in desperate times are deep, showing that there is more to the tale of war than death. Even through this, love still exists, however complicated. The chemistry, more so than between the romantic leads, but Treloar and Kay as comrades is touching, leading to gut dropping moments.
Transitions are complicated in the medium of the theatre stage, unable to rely on the usual tricks screen productions can call upon. Birdsong however manages a tremendous feat, we never need to question if we are in the ‘present’ or past. More than this, simple tricks of the light and swift flat moves manifest all forms of location. From the grim trenches, deep underground to the claustrophobic tunnels. Alex Wardle’s tweaked lighting design is simple, nothing over the top but manages to shift the tone from one of song to the dreaded ‘over the top’ moments of the Somme tastefully.
With war, comes pain. One cannot sugar-coat the atrocities of the past, nor should we ever re-write them. Even in fictional works, the subject matter needs to remain as truthful as possible to real events. Throughout the seclusion of the grimness, small sparks of humanity remain. Tiny touches which, just to those brave men, lift the audience out of the doldrums. Singing, music and those symbolic birdsongs help alleviate the bleakness, whilst also reinforcing the severity of the situation.
Recovering history is of paramount importance. As memories fade, they alter, they shift and warp. Productions such as Birdsong, as too the original novel, seek to maintain a narrative. Even if fictionalised. It would be a stretch to describe Birdsong as uplifting, though it is enjoyable. Its subject matter of trauma isn’t made to entertain, more so to reignite emotions. In truth, it is a fundamentally engaging piece of adaptation, with merit behind its messages. For lest we forget (again), that what is war but hell?
Runs until 12 May 2018 | Image: Contributed