Writer: Sebastian Faulks
Adaptor: Rachel Wagstaff
Directors: Alistair Whatley and Charlotte Peters
In the bleakest moments of atrocity, even war, stories of the human ability for kindness, compassion and endurance offer lifelines. 104 years, to the day, since the Battle of the Somme, one of modern Europe’s most horrific events, Rachel Wagstaff’s adaption of Sebastian Faulks 1993 novel Birdsong pays tribute to the tremendous valour and sacrifice of so many while streamlining their theatrical production for a digital medium – hoping to not only maintain the embers of theatre but promote The British Royal Legion and grasp the world’s focus, on the precipice of such inward destruction, that the lesson we seemingly have yet to learn about conflict.
For those lucky enough to catch the 2016, or subsequent 2018 touring production, fond memories will flood back of a dauntingly poignant show, and this returning online version contains enough deviation and difference to feel entirely innovative and individual. Set shortly before, during and after the Battle of the Somme, Faulks’ story revolves around the Tommys, miners who would dig the trenches and attempt to uncover enemy tunnels, focusing particularly on Jack Firebrace, and of his commanding officer Stephen.
Amalgamating the video format into a live performance, Alistair Whatley and Charlotte Peters’ direction refrains from cheap gimmickry, and while other productions find difficulty in modifying their narrative to a digital format, Birdsong excels. The intensity of the close-ups, only achieved with direct video, convey a rich connection with the performers, particularly Tim Treloar’s Firebrace. Fixated, it’s difficult to look away as the black knot in your stomach grows as Treloar’s words enrapture you, gripping the audience. In the silence of your own home, away from the distractions of a theatre, Treloar’s performance breathes humanity into Wagstaff’s words.
And this silence is paramount to the enjoyment of Birdsong – where possible, try to avoid watching this on a tablet or small screen, the editing process and visual quality has been crafted for no different an experience than a feature film. Dynamically staged, with multiple screens and the occasional fourth-wall break, Birdsong adapts to the medium, rather than accepts limitations. Where there is no physical set, it makes do, focusing on background designs, audio tricks and score. A composition played and designed by musical director James Findlay manages to almost evoke an intense response as hearing it in the heart of a theatre.
Additionally, combining elements of theatre and film, Faulks narrates the interceding scenes, offering a transition in place of a theatrical one which would enable time displacement or location changes. Swerving between the trenches, the earth-laden tunnels beneath the German troops or in the bright, fresh lands of provincial France, Tom Kay, Madeleine Knight and Liam McCormack all play their part in engaging with the audience, strengthening the believability of the digital production. Transformation is imperative, and each cast member evolves as the production moves forward. Kay’s status dynamic with Treloar shifts, as too does his emotional chemistry, resulting in powerful moments of silence, as he comes face-to-face with the enemy.
Are there insignificant issues of audio or effect warping? Certainly. Does this cause issue with enjoyment or appreciation? Not in the slightest. The tenacity, ingenuity and momentum propelling this unique performance of Birdsong forward are precisely what theatre thrives on, what empowers its creators and drives the audience to follow the siren calls of our treasured artform. Wagstaff’s adaption of Birdsong seeks to reignite our respect, recover a sense of waning history and demonstrate a significant reminder of the imperative words; “Never Again”.
Available here to rent from 7pm 1 July until 3 July