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Writer's pictureEmma Kaabachi (she/her)

Birdsong | Yvonne Arnaud

Based on Sebastian Faulks’ riveting novel, Birdsong tells the story of a pair of star-crossed lovers during the trials and perils of the early 20th Century. It is a story of love, heartbreak, loss, war, and the hope that something better is yet to come.


In this production, adapted by Rachel Wagstaff, the story unfolds in three separate acts, each with their own tone and aim. In order to give justice to this beautiful piece, it is only right that this review be set out in a similar manner.


The first of the acts focuses on the fateful meeting between Isabelle Azaire (Charlie Russell) and our protagonist, Stephen Wraysford (James Esler), in the town of Amiens near the river Somme. Wraysford is sent by his guardian to inspect, and form a partnership with a factory owner René Azaire (Sargon Yelda), who happens to be Isabelle’s tyrannical husband. This is set in 1910, some years before the events of the second act. Russell’s performance here is divine. Her character’s intense ability to switch between extreme lust and hurt is extraordinary.



The set design (Richard Kent), whilst being technically simplistic, gives off a completely different impression. It alternates between the sitting room of the Azaire house, with an Ottoman couch, an arm chair and a small table with a lamp, and the factory setting. The latter utilizes the horizontal slatted wall panels, which surround the stage, as machinery, as each worker passes neat pieces of fabric through the slants. Throughout the three-acts, the design of the show is nothing but perfect, representing a visually rich piece of well-known history.


Another example of the creative team’s visually stunning work can be found in the costumes (David Morgan). From the ladies’ ensemble to the men’s army uniforms, it is clear that no detail was left to the imagination.


The second act shifts in tones majorly, as we find ourselves in the front lines of the Trenches in 1916. This act leans away from the romantic turmoil and more towards the harsh realities of war, relying much more on the sensory experience of the audience. From loud gun noises to bomb shells, to anyone sensitive to auditory overload, this is bound to be uncomfortable, caution is therefore advised in this respect. However, part of the genius of this show is that it is supposed to be recounting the reality of the experience, ‘warts and all,’ and it does so in a way that makes the viewing terrifying. Tragedy seems to lurk around every corner, leaving no stone unturned. The moments when the soldiers started singing in the trenches before going over the wall to their inevitable deaths was nothing short of devastating.



From the start of the show to the very end, Ester took the audience on a candid journey through the wretchedness of the battle (both at home and on the front). It is as heartbreaking, as it is beautiful and strong. There are clearly no words strong enough to describe the talent of each and every one of the actors on stage.


All of this is sewn together in a third act. Every story comes to a close in one way or another. The only issue that could be found with this act, is simply pacing. After the emotional rollercoaster of the previous acts, a third part with less action can quickly become slow. However, this was counteracted by, once again, brilliant costuming and performances. This show was simply sublime. A masterpiece of theatrical storytelling. If you ever find yourself with the opportunity to see this, do not let this chance slip away. After all, it’s always better to take a chance on love (in any form) than to let it pass.


Birdsong runs at the Yvonne Arnaud until 2nd November. For tickets and more information, you can follow the link here.


⭐️⭐️⭐️⭐️⭐️ (5*)


Gifted tickets in return for an honest review | photography by Pamela Raith

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