The story centres around Stephen Wraysford (James Esler), an Englishman sent to France by his employer to assess a factory for purchase. While there, Wraysford embarks on a passionate affair with Isabelle (Charlie Russell), who is seeking an escape from her loveless and abusive marriage to autocratic factory owner René Azaire (Sargon Yelda). This complex relationship becomes the emotional heart of the production, underscoring the three act structure that shifts us from pre- post World War One. As Wraysford enrols as a Lieutenant in the British Army, the narrative shifts from a love story to one of survival. The subtle curtain drop at the end of act one perfectly marks this war-time transition, as German soldiers begin to encroach. This is a particularly striking touch, as it sets the stage for the chaos and tragedy to come.
Having entered the theatre unfamiliar with Faulks' novel, it was apparent from the whispers of audience members that the adaptation stays fairly true to its source material. Though, you needn’t have read the book to understand the essence of the show. At times however, Rachel Wagstaff’s faithfulness to the novel does let the production down slightly in terms of narrative cohesion. For instance, the inclusion of town councillor Bérard (Roger Ringrose) as well as Isabelle’s stepdaughter Lisette (Gracie Follows) feel unnecessary to the adaptation. Whilst they add occasional moments of humour, they do not drive forward the core narrative. Simply put, they appear in the production to pay homage to the novel. Similarly, the presence of modern-day character John (Tama Phethean) who is attempting to trace the origins of his namesake, just isn’t developed enough. This element could have worked better if weaved through the entirety of the production rather than at the end in an attempt to tie everything together. For this reason, Birdsong feels more like a series of disconnected vignettes rather than a fully integrated narrative. Though, the vignettes that are presented are excellent to watch.
Visually, Birdsong is an impressive feat. Richard Kent has crafted a striking set that, whilst minimalist, is incredibly versatile, shifting seamlessly between scenes without disrupting the ebs and flows of the production. The lighting (Jason Taylor), particularly during the war scenes, is used to great effect, creating an eerie and claustrophobic atmosphere in the trenches and underground tunnels. The tension during these moments was palpable and testament to the quality of the production values overall.
Birdsong truly shines in its second and third acts. The strength lies in the quieter moments, particularly the nuanced scenes between soldiers Jack (Max Bowden) and Shaw (Tama Phethean). The friendship and comradery that develops between the two was incredibly engaging to watch and directed with aplomb by Alastair Whatley. The performances in the latter half of the show are especially compelling, as the characters' humanity comes through in their struggle to survive amidst the chaos. Emotional and believable performances are given not just by the pair mentioned, but by the entire cast.
Birdsong is a poignant production that captures the weight of war. Whether you're familiar with the novel or not, this production resonates deeply, serving as an emotional reminder of the enduring cost of conflict.
Be sure to catch Birdsong before Saturday 1st February. Birdsong | Birmingham Rep
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