Birdsong, Theatre Royal Bath – ‘An important and relevant story, with moments of pure shock’

Never again. Words we all associate with World War I, spoken in the final moments of Birdsong by ‘the enemy’ after the war had ended.

This tour of Rachel Wagstaff’s adaptation of Sebastian Faulks’ 30-year-old novel is timed to coincide with Britain’s remembrance period, but tonight I watched it fresh from hearing the news that governments in Europe are preparing their citizens again for war.

Familiar scenes of dug-outs, mud-covered sappers, frightened boy soldiers and barking generals appear on stage as expected, but they come with a terrifying side order of realisation that it’s only the date that has changed.

Birdsong ensemble cast

Faulks’ novel stays firmly in the mind of every reader. Everyone remembers the passionate sex, but it’s the mud you can still taste years later. Birdsong tells an important, and relevant story.

Many of us in the audience had grandfathers who fought in those foreign fields, if the interval conversations were anything to go by – I’m sure that’s the case wherever this production plays. It’s a story almost every family could tell, but none should ever have to.

There is some beautiful stagecraft on show here – particularly at the end of Act Two as the unit prepares to go over the top. Dominic Bilkey’s sound design is a masterclass, with gunfire and explosions which literally shook us in our seats.

Max Bowden as Jack Firebrace

There are moments of pure shock, which jolt us, just as they should, from our comfort. Richard Kent’s set is beautiful, suggesting elegance, industry and claustrophobia with the simplest of changes.

But too much of the evening feels like storytelling by chapters. The script is at least 30 minutes too long. Rachel Wagstaff has stayed faithful to the book, at the expense of trusting what theatre can do. Much of the action could be told in minimal, visual form instead of so many episodic scenes which further the plot but interrupt the momentum.

Max Bowden, as sapper Firebrace, is the heart of the evening. Cheeky and cheerful on the surface, he gives a movingly layered performance which saves some of the more formulaic scenes. Natalie Radmall-Quirke gives an intelligent performance with depth and compassion.

Charlie Russell as Isabelle Azaire and James Esler as Stephen Wraysford

The company of soldiers, factory workers, medics and townsfolk are a strong ensemble – with some gorgeous a cappella-sung set pieces.

For the play to work emotionally on every level we should be invested in the central relationship between Isabelle and Stephen, and sadly these were the weakest performances, for me.

But mainly – huge thanks to the production companies involved for staging this tour now. We should all be grateful to those who fought for our freedom and democracy, and to those who don’t give up reminding us of it. Lest we forget.

Birdsong is at Theatre Royal Bath on November 25-30 at 7.30pm, with additional 2.30pm matinee shows on Wednesday and Saturday. Tickets are available at www.theatreroyal.org.uk.

All photos: Pamela Raith

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