It’s impossible to see the incredibly intense Birdsong and not be moved. There are sections of this play which are nigh on perfect, while others are far less in comparison. The issue when taking the whole novel by Sebastian Faulks with Rachel Wagstaff adapting it for stage is that choices have to be made, resulting in intense focus on some sections and thinner attention to others. However, at almost three and a half hours long, the first act which tells the story of Wraysford and Isabelle falling in “love”, is both far too long and overly simplistic in its telling.
The story on show is of lust and obsession verging on addiction, rather than love: he wants to rescue her from her abusive husband and she sees him as kind and as the way out of a loveless marriage. Yet she disappears and leaves him even before the War breaks out, leaving so many questions left unanswered about their life, which seems to be shown in a long drawn out sex scene and quite a bit of nudity, the purpose of which beyond being gratuitous, is unclear. There are so many more interesting ways to show intimacy and passion than just sex: for those who want to see naked breasts, they could watch Game of Thrones: it just doesn’t seem appropriate here.
Yet the second and third acts are incredible. The depictions of how it was to be part of the First World War in France, on the Western Front, and the massacre of The Battle of the Somme in particular: watching all the men getting ready together, singing with rising and falling harmonies, with shell fire noises all around practically shaking the theatre and watching them ‘go over the top’ with smoke and stunning lighting, dim lanterns accentuating the grim surroundings, is a picture that haunts and remains long after the scene ends.
The relationships between the men and the camaraderie mixed with fierceness and occasional irritation are incredibly real and beautifully portrayed by all of them. Max Bowden shines with depth as Jack Firebrace, and the friendship bond between him and Tama Phethean as Shaw is almost palpable. Their putting up with their friend Evans played with earthy depth by Joseph Benjamin Baker who shows a beautifully subtle sign of “shell shock” in one scene is also wonderful to see. Raif Clarke as impossibly young Tipper is heartbreakingly outstanding.
The acting holds the story well, and there are some that stand out, including Natalie Radmall-Quirke excelling in the display of subtext as the warm and caring Jeanne who Wraysford really should have fallen for instead, to Roger Ringrose, shining in his not all likeable multi-roles, to Charlie Russell’s fully committed emotional fragile performance of Isabelle. The occasional singing is wonderful, including gorgeous harmonies, especially James Findlay’s lead vocals and multiple instrument playing while in character through various scenes.
The story on stage feels too drawn out in some parts, yet conversely the ending feels a little rushed. Where this production shines is in the depictions of the War which are incredibly well done, while the first act could be condensed to ten minutes. The atmosphere conjured through the soundscaping both on and off stage and the exceptional lighting design is utterly glorious, although there is a lot of cigarette smoking throughout affecting the audience, which could easily be reined back.
We connect with the men in the tunnels and those in the trenches, we care about their stories and we want them to live; while it’s far harder to connect to the love story which feels obsessive and unreal. The tunnels and the trenches the men are living in are portrayed with such rich earthiness we feel along with them, all the while wanting and hoping for their survival, and being fearful for them. If this adaptation could have a cut and another edit through, this production could be sublime.
Theatre Royal Brighton, 5 February 2025
Birdsong runs until 8 February 2025
Photos credit: Pamela Raith
