REVIEW: Birdsong – Theatre Royal – Nottingham

Rating

Sebastian Faulks’ Birdsong remains one of the great literary love stories of the last 30 years, and its enduring popularity has now brought a new production to the Nottingham Theatre Royal. Adapted by Rachel Wagstaff and directed by Alastair Whatley, this latest staging boasts some powerful performances, but it struggles under the weight of a plot that meanders, dragging the show to a lengthy three-hour runtime.

Set against the backdrop of World War One, the story follows Stephen Wraysford (James Esler), an Englishman sent to France to oversee a potential investment in a factory. While there, he embarks on a passionate affair with Isabelle (Charlie Russell), the factory owner’s second wife. The tale then shifts to the horrors of trench warfare, as Wraysford, now a British Army Lieutenant, fights for survival.

The cast delivers consistently strong performances, particularly Esler and Max Bowden as Jack Firebrace, a trench-digger who plays a pivotal role in the wartime narrative. Their portrayals are nuanced and gripping, effectively conveying the emotional depth of men facing unimaginable trauma. Whatley’s direction brings out the best in the ensemble, and Richard Kent’s set design—complemented by Jason Taylor’s evocative lighting—creates a hauntingly realistic depiction of life in the trenches. The stage rarely changes throughout the show, with the exception of a raising and falling wooden roof structure which is surprisingly effective at demonstrating the tunnelling systems. This said, there is scope for more extreme set changes as the piece goes on.

However, despite the stellar acting, the production suffers from a disjointed script that mirrors Faulks’ novel a little too faithfully. Wagstaff’s adaptation feels overstuffed, with multiple subplots that dilute the core narrative. Act One focuses on the love triangle between Wraysford, Isabelle, and her husband René (Sargon Yelda), but is bogged down by unnecessary side stories that add little to the emotional weight of the drama. In Act Two, the focus shifts from the love story to the brutal realities of war, but once again, extraneous scenes detract from the central action.

By the time Act Three attempts to weave everything together, the lack of narrative cohesion leaves the audience disconnected. The inclusion of a modern-day subplot involving John (Tama Phethean), a man searching for the grave of a soldier he was named after, feels tacked on and does little to elevate the overall impact of the play. In trying to do the wonders of the intricacies of Faulks’ writing justice, they subtract significantly from the plot. Confusingly, the play doesn’t highlight locative or temporal information, meaning it’s a little confusing what time frames the audience is seeing, if you weren’t familiar with the plot.

At three hours, Birdsong is a long watch, and while the acting keeps you engaged, the pacing falters. Scenes that could have been powerful are instead diluted by the play’s inability to maintain focus. Fans of the novel may find themselves frustrated, as this production captures neither the emotional intensity nor the tight narrative structure that made Faulks’ story so beloved.

In the end, while Birdsong at Nottingham Theatre Royal succeeds in showcasing outstanding performances, it ultimately falls short due to its meandering plot and overextended runtime. For newcomers to the story, it offers moments of brilliance but lacks the cohesion needed to make the entire journey feel worthwhile.

Birdsong plays at the Theatre Royal until Saturday 19th October where it will continue its UK tour.

Photography throughout from Pamela Raith.


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