I must admit to not being an avid reader of novels, so the book by Sebastian Faulks on which this play is based remains a mystery to me. Actually it is not a mystery, it is a love story, but you know what I mean. Because of this, I had a cursory scan of the internet to see what I could find out about the work, which was, that because it runs to over 400 pages, what I saw last night, even at a running time of three hours including interval, was a highly abridged interpretation by Rachel Wagstaff.
It matters not, as the story is pretty straightforward. Just prior to the First World War, a young Englishman, Stephen Wraysford, played by James Esler, is on a business trip to assess the viability of purchasing a textile factory in France from René Azaire (Sargon Yelda) who affords him accommodation. During his stay with the family it becomes clear that his host is being abusive to his wife Isabelle, played by Charlie Russell, and the two begin a torrid affair. René discovers the tryst and the trip is brought to an end when the lovers plan to run away together, but Isabelle changes her mind and stays for the sake of the family, i.e. her sisters.
Isabelle, played by Charlie Russell and James Esler as Stephen Wraysford
Stephen remains besotted by Isabelle even whilst fighting in the trenches once war has broken out, and resolves to meet up with her again. After a series of episodes in which he is shot and left for dead, only to be discovered, still alive, by his comrade, Jack Firebrace – Max Bowden – he returns to the French town where he traces Jeanne, her sister. It transpires that Isabelle has been disfigured in a bomb attack and does not wish him to see her this way. The couple do meet up but she sends him away as she has married a man named Max, who treats her well and with whom she is happy.
Max Bowden as Jack Firebrace and James Esler as Stephen Wraysford
Shortly after this, Jeanne breaks the news to Stephen that Isabelle has died but had a daughter by him and has raised her with Max as their own. Stephen and Jeanne grow close but he still can’t get over Isabelle so the relationship ends, as does the play.
As you would imagine, the drama is more concerned with the various relationships, both romantic and those forged in the horrors of war between comrades, than in plot. All are handled superbly although some of the scene setters I thought could have been condensed a little. Having said that, the three hours flew by.
The cast in a tunnel on the front
The Director, Alastair Whatley and Designer, Richard Kent, did an amazing job with the bare square stage being effortlessly transformed into various locations such as a railway station, textile factory, drawing room, bar and wartime trenches and tunnels. The open space was made claustrophobic during the latter two scenarios by the lowering of a large wooden canopy constructed of slats, from the flies to within a couple of feet of the stage, meaning that the soldiers had to crawl underneath them.
The cast having a knees up in a bar near the front
The acting was superb with many of the cast playing multiple roles. The doomed lovers went through the full gamut of emotions, getting the audience involved by just staying on the right side of credibility, with Max Bowden as Jack Firebrace, Stephen’s army comrade, and Natalie Radmall-Quirke as Jeanne, being especially worth a mention.
The Sound Designer, Dominic Bilkey, provided the explosions and general war noises at one end of the scale, as well as the tranquil eponymous bird songs at the other. Lighting Designer, Jason Taylor complementing the scenes superbly.
Because there are, as the triggers on tv shows would have it, ‘some scenes of a sexual nature’, I thought I would have a look at the creatives to see who was responsible for their presentation and was surprised to find that there were two Intimacy Directors; Yarit Dor and Enric Ortuño, who were also the Fight Directors. That’s all extremes covered then and they must now be everyone’s go-to guys for ‘scenes of a sado-masochistic nature.’ I really must get some therapy. Speaking of things carnal, I would like to thank Sebastian Faulks for redressing the balance insofar as the prowess vis-á-vis English and Continental men is concerned. It is a bit late for me, but I am glad that we at last have a British gentleman illustrate that he is just as able to seduce a Frenchwoman as a French or Italian man is with one of our ladies.
Birdsong, which is well worth a viewing, runs at Leeds Playhouse until Saturday, 21st September. For further details and to book please go to https://www.leedsplayhouse.org.uk/event/birdsong/
To see what else is on at Leeds Playhouse it is https://www.leedsplayhouse.org.uk/whats-on/
Photographs credit Pamela Raith Photography.
Feature image supplied by Leeds Playhouse.
Tyke It To The Limit 