HOW privileged we are to this week play host to the first performances of The Original Theatre Company’s production of Birdsong.

The foundation of this accomplished piece of theatre is Rachel Wagstaff’s skilful condensing of Sebastian Faulks’ 1993 novel into a workable play, one which is so both thematically true to the original book, and a significant achievement in itself. 

On Victoria Spearing’s perfect set, complete with the necessary tunnel openings and a significant cross on the horizon, the wonderfully atmospheric opening presents us with a gang of soldiers milling and mucking around, singing and dancing whilst an accordion plays. Young soldier Tipper (Charlie G Hawkins, making a terrific stage debut) sets everyone laughing with his energetic routine to Hold Your Hand Out, Naughty Boy.

Initially, inexperienced young WWI officer Lt Wraysford (Jonathan Smith) is too consumed by his own concerns, particularly his affair with married Frenchwoman Isabelle (Sarah Jayne Dunn), the genesis of which we witness in flashback, to lead his men. Throughout, the past flows seamlessly into the present and vice versa. 

Warned by Captain Gray (Malcolm James) that “no one wants to die fighting for a stuffed shirt”, he liaises with the team who work in the tunnels, in particular Jack Firebrace (a fabulous Tim Treloar). He initially summons the latter to his digs after discovering him asleep on duty and eventually, after raging at its innate waste, comes to a greater understanding of the nature of the men’s sacrifice, among myriad other things.

Director Alistair Whatley has secured outstanding performances from his entire cast for this piece, ensuring each actor makes an individual impression in addition to the exemplary leads. Polly Hughes’ Lisette is perfectly coquettish and I couldn’t help but take silly delight in Arthur Bostrom’s appearance, especially as he adopted a French accent for his key comedic role as Berard!

Music is beautifully interwoven with the drama, especially in the heartrending scene where letters home are composed in three halos of light towards the front of the stage. Evocative solos are provided throughout by Tim Van Eyken and Joshua Higgott. 

Alex Wardle’s lighting and Dominic Bilkey’s sound – including sudden explosions, distant bombs, planes overhead and a ticking clock – are superlative, adding emotive accents throughout, whilst movement director Lucie Packhurst’s input includes the elegant balletic dance which expresses the intensity of the lovers’ passion.   

The novel’s essential scenes in the tunnel scenes are recreated effectively with a bare minimum of props, communicating the claustrophobia and the danger posed, whilst the poignancy of the conclusion, with its emphasis on the silent burden of loss and the Great War’s legacy, ensures that this one will stay with you as you leave. 

Tickets: 01256 844244, anvilarts.org.uk.