★★

“The play is a streamlined version of the book, but this production does not bring out the pain and inhumanity of war”

Alexandra Palace Theatre is the final venue for Birdsong, after its long regional UK tour.

Alexandra Palace Theatre is London’s oldest new theatre, originally built in 1875, falling into disrepair and eventually re-opening in 2018 after a major refurbishment bringing the huge auditorium back to life in arrested decay. It is a big theatre to fill and with a lot of the seating on the flat it is lucky the stage is high. The slopping seats are a long way back from the stage in this vast space. But it is beautiful and majestic.

Now to Birdsong… This production marks the thirtieth anniversary of Sebastian Faulks’s epic and searing WWI novel – and fifteen years since the West End premiere of the stage adaptation by Rachel Wagstaff.

After seven months on the road, this current production is tired and needs to be put to sleep. The cast, most playing several characters with several dodgy accents, have been allowed to stretch out their lines and pauses – it needed desperate tightening by the director Alastair Whatley, and at over three hours this production is too long.

The opening scene is in present day Amiens, France, with a young man looking for a WWI soldier’s grave. It then moves to the bourgeois charm of pre-war Amiens where Stephen Wraysford (James Esler) is a guest staying with René Azaire (Sargon Yelda), his wife Isabelle (Charlie Russell) and his teenage daughter Lisette (Gracie Follows) to learn about Azaire’s textile factory. The factory is failing, the workers are rebelling, the Azaire’s marriage is toxic, and Stephen starts a passionate affair with the unhappy Isabelle. The affair is discovered and Act One closes with them running away together.

Act Two opens in the 1916 trenches in France, with hammy acting and singing Hold Your Hand Out Naughty Boy, a music hall favourite, sung by the sappers and infantrymen of the British Army, covered in mud and showing their camaraderie. We meet various characters including Jack Firebrace (Max Bowden) a sapper who digs the dangerous tunnels under the battlefields, and learns of his young son John’s death, in a letter from home. Stephen is now a lonely, cold-hearted lieutenant, who dissects dead rats. In flash backs we discover that Isabelle had left him. Firebrace saves Stephen’s life when one of the tunnels collapses in an explosion. The act ends in silhouette as the soldiers climb up the ladders out of the trenches into No Man’s Land and certain death.

Act Three in the tail end of the war, Stephen and Firebrace are again trapped underground. This time Stephen desperately tries to save Firebrace’s life, but he dies before a German Jewish soldier breaks through – it is the end of the war and peace is above ground. The play bookends back to the present day and we discover that the young man searching for the soldier’s grave has been looking for Jack Firebrace’s grave; and he is in fact John (yes named after Jack’s dead son), Stephen’s grandson.

The set by Richard Kent, works well to create multiple locations including the claustrophobic underground tunnels. The lighting tonight was maybe too dark and there was continuous smoke billowing, which worked for the factory and battle scenes but not for the gentle French countryside and house scenes.

The theatre acoustics are flat, meaning the cast are heavily miked with individual head mikes and the sound is overly loud. The microphones also pick up the fact that the maid’s shoes do not have rubbered soles, and on this stage her noisy clackety clack steps were heard throughout, especially when she exited stage left and ran round backstage to make a quick re-entrance stage right.

There was no chemistry between lovers Isabelle and Stephen, and in their graphic sex scene Stephen is naked, as any ardent lover should be. However, I was left wondering where his mike pack might be hidden.

Birdsong ends with the sounds of the soaring titular birdsong.

The play is a streamlined version of the book, but this production does not bring out the pain and inhumanity of war, or dying and surviving in a living hell, nor the horrific psychological effects of war.

Read the book.

SON OF A BITCH

Southwark Playhouse Borough

★★★★

“sharp and funny solo show that offers a refreshingly candid take on motherhood”

Anna Morris’s darkly comic one-woman play Son of a Bitch arrives at Southwark Playhouse following a successful run at the 2024 Edinburgh Festival Fringe. With a provocative title and an intriguing premise, the show delves into themes of motherhood, societal pressure, and personal regret, balancing sharp humour with moments of introspection.

The play follows Marnie (played by Morris), a yoga instructor in her late 30s, whose life is upended when a fellow passenger records her calling her young son the C-word during a flight. The video goes viral, but rather than focusing on the fallout of this moment, the narrative primarily explores the lead-up to this event, questioning the unspoken realities of motherhood.

Morris delivers an energetic and engaging performance, effortlessly slipping into the various characters that populate Marnie’s world. From her overbearing northern mother to her intensely posh flatmate, Morris’s character work is sharply observed and often very funny. The writing brims with witty one-liners, earning consistent laughs; a line about men who look like prawns and another about depressed women in bathtubs get particularly loud chuckles. There’s a definite influence of stand-up comedy in Morris’s delivery, adding a lively rhythm to the script.

Under Madelaine Moore’s direction, the production is tightly paced and effectively staged, ensuring that the transitions between past and present feel fluid and dynamic. Visually, the production is cleverly designed. The set consists of corporate blue carpeted flooring, a white chair at its centre, and two curved “C” shape structures forming a circular shape behind it; an effective nod both to the claustrophobic setting of an aeroplane and a visual play on the word Marnie uses against her child. Lighting Design by Megan Lucas subtly shifts to reflect different moods: cold and corporate one moment, then warm and golden as Marnie parodies the ‘glow’ of motherhood. Another standout element is the use of captioning, also designed by Lucas. Displayed in a rectangular screen above the stage, the captions adapt in font and style to represent different speakers and even simulate text messages, demonstrating a well-thought-out integration of accessibility and storytelling.

The narrative structure of Son of a Bitch mirrors the spiralling nature of Marnie’s situation, moving fluidly between past and present. While this approach effectively builds intrigue, it could sometimes do with further clarity, with a multitude of names and details occasionally jumping around too loosely. Additionally, while Marnie’s husband is positioned as an unsympathetic figure – choosing to upgrade himself to business class rather than sit with his wife and child – his character feels somewhat two-dimensional, leaving questions about why these two people were together in the first place.

Beneath the humour, the play raises compelling questions about societal expectations of motherhood. A particularly striking moment comes when Marnie is asked whether she would regret not having children, only for her to subvert the question and ask what would happen instead if she regrets having one. There’s also an underexplored but poignant subplot involving a gay friend who reveals that his lack of children wasn’t a choice, but something he had to grieve. These moments hint at deeper, thought-provoking themes, though at times they feel fleeting.

While the play is consistently engaging, its pacing remains largely unchanged throughout. Moments that could have built towards greater emotional intensity or a stronger sense of escalation maintain the same rhythm, which at times lessens the dramatic impact. However, Morris’s charisma ensures the piece remains compelling. She establishes an immediate rapport with the audience, and her command of comedy ensures that the story is as entertaining as it is thought-provoking.

Overall, this is a sharp and funny solo show that offers a refreshingly candid take on motherhood. While its central premise is striking, the surrounding narrative could delve deeper into its themes. Nonetheless, Morris’s performance is magnetic, making this an enjoyable and insightful performance.

BIRDSONG

Alexandra Palace Theatre

★★

“The play is a streamlined version of the book, but this production does not bring out the pain and inhumanity of war”

BIRDSONG

Alexandra Palace Theatre

Reviewed on 28th February 2025

by Debbie Rich

Photography by Pamela Raith

Previously reviewed at this venue:

BIRDSONG

BIRDSONG

BIRDSONG

SON OF A BITCH

Southwark Playhouse Borough

★★★★

“sharp and funny solo show that offers a refreshingly candid take on motherhood”

SON OF A BITCH

Southwark Playhouse Borough

Reviewed on 18th February 2025

by Joseph Dunitz

Photography by Steve Gregson

Previously reviewed at Southwark Playhouse venues:

SON OF A BITCH

SON OF A BITCH

SON OF A BITCH