Eighty-two years since its first performance in London, the renowned wartime play Journey’s End is still touching, heartbreaking, and relevant. As dead soldiers have been paraded in Wooten Basset upon their return from Afghanistan, Journey’s End reminds audiences about the sacrifices made in 1914-1918.
After the war, R. C. Sherriff’s play was wrongly interpreted as “anti-war”, and it is obvious why. Harrowing screams of pain, sporadic whimpers of fear, and endless, tedious waiting, all seem to emphasise the futility of war. Yet, this was not Sheriff’s intention; camaraderie, friendship and love are entrenched into the play and shed a positive light on the war.
Based on Sherriff’s own experiences, Journey’s End is set in the trenches at Saint-Quentin, France, towards the end of the First World War. The play follows the lives of six officers awaiting a German offensive, focusing on one particular officer, Stanhope.
Once a fine young gentleman at school and an exceptional “rugger” player, after three years of war he is an alcoholic veteran, and must inspire his comrades to face their imminent deaths. Time passes slowly as the soldiers wait, before racing to a heart wrenching climax as the soldiers face their “journey’s end.”
Directed by Alastair Whatley, the performances were magnificent; in particular, Rhys King’s portrayal of the agitated Hibbert was sensational and heartbreaking. Tom Hackney’s performance of Raleigh was also thoroughly compelling, and Graham Seed (Osbourne) and Christopher Harper (Stanhope) were consistently strong throughout the play.
The set was simple, but the atmosphere was remarkably believable. The lighting and sound effects complemented each other to produce frightening action scenes, and the smell of tobacco filled the theatre, enveloping the audience and drawing us in to their tiny dugout.
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