I have fallen in love again. How refreshing though that it’s not a woman that is the focus of my affection, but a city. Like a woman, this city is indifferent to me, but unlike with women this vast, inexpressible indifference merely adds to the irresistible charm of the place. I like feeling insignificant and anonymous within its boundaries, in fact I positively relish the sense of oblivion. The hustle and bustle, the noise, the possibilities; it all submerges every little, trivial concern I might have. I drown in the ocean of seemingly limitless fuel for my imagination and oh how good it feels. To feel simultaneously satisfied that I am gradually gaining a geography of the place, whilst barely scratching the surface of what is really there, of all that’s on offer. Gorgeous girls galore, lines and lines of landmarks, tearaway taxis, bulging buses, teeming theatres, pulsing pavements and many marvellous museums; it’s all there. If variety is the spice of life then London has a hot twang I am acquiring a ravenous taste for.
But now I am worried, I do not have my next trip lined up, pencilled in the diary. I am hungry for the city and fear the withdrawal symptoms. Having only recently discovered the joys of walking the capital I crave the stroll crammed with sights and sounds. How can anything else compare? Things simply happen in London. And on such a majestic scale that it still feels like the centre of a world empire, still feels like a great, churning engine of commerce that could achieve so much. There’s so much to discover. I’m not one for shopping, unless it’s an awe inspiring jaunt through the grandeur of Harrods, not buying anything but soaking up my surroundings. And yet this weekend the scale of the shops in London surprised my senses and seduced me. Why I don’t know, I’ve always known they were there, been there before. But this time I found myself thinking how wonderful it would be to able to pop out from home, my own base, to these places, perhaps with one item in mind, only to leave with others you forgot you wanted or didn’t know you did. I could have spent hours and hours trawling through books, it seemed impossible that they would not have what you wanted and even if they didn’t there was bound to be at least three or four alternatives you’d never have thought of. You’d feel nervous about the state of your bank balance and a little guilty, but in an exciting way; how could life ever be boring? And in some places things were cheaper anyway! What am I still doing out in the dead limbs of the countryside, when everything gathers there at the heart of everything?
Of course I know this is naive and not everything about London is great. I felt pursued by Cafe Neros the whole weekend for example, to such an extent that my train even passed one of their out of town storage facilities. They seem to have an outpost on every street. It’s either them or Pret A Manger, or often both. And I know perhaps a prolonged stay might have me cursing the dirty grime and toil and danger of city life. But increasingly now, in what I would like to think of as my clearer moments, I am realising that “life is islands of ecstasy in an ocean of ennui”, as The Dice Man puts it, and London is the sort of place that the islands are more frequent. I mean for me at the moment simply a glimpse of the skyline is thrilling and I can’t imagine that thrill ever dying out completely. So I think I’ve decided as one of my life’s few certainties that I want to live in our glorious capital city, even if I must wait a few years: London is the goal.
Anyway onto the main event then, after the distracting diversion of my musings. I was in London yet again to see a stage adaptation of Sebastian Faulks’ successful novel Birdsong. It seemed appropriate that I would see this acclaimed First World War story dramatised a day before Remembrance Sunday, but insensitively inappropriate, if only in a trivial way, that the home of the production was the Comedy Theatre on Panton Street, just around the corner from Trafalgar Square. Whilst there were moments of comedy in Birdsong this was hardly stand-up and the key overarching themes were mainly grim and immensely serious. Nevertheless I swallowed my grievances about the suitability of the theatre and purchased a programme.
Perusing it prior to the start of the play I was intrigued by the sensitive artwork and pleasantly surprised to recognise a number of the performers. I knew Ben Barnes, of Prince Caspian fame, was playing central character Stephen Wraysford but couldn’t really care less about his previous body of work. However Nicholas Farrell has an impressive stage, film and TV CV. I think it was predominantly Kenneth Branagh’s Hamlet that I recognised him from, in which he played Horatio. But he’d also been in Torchwood and Spooks. Spooks is one of my favourite series, not least because of its endless vistas of a glamorous London, and I was delighted to find that Isabelle Azaire, the main female love interest of Stephen, would be played by Genevieve O’Reilly, who played a double crossing CIA agent in the last series, working for a shadowy secret organisation and seducing MI5 officers with sultry American tones. The other most recognisable face was that of Lee Ross, playing the role of vital sapper character Jack Firebrace, whose credits included Eastenders and The Catherine Tate Show.
I did have slight misgivings about the fact that Farrell would play both cruel, unloving French husband Rene Azaire in the early scenes and Captain Gray later on, just as Iain Mitchell would play both the insufferable French oath Berard and then the insufferable English oath Colonel Barclay. But both actors produced such accomplished performances that I was willing to overlook this choice of economy. In fact in my view Farrell’s experience clearly showed and he was the highlight of the play in terms of quality acting. I had wondered if the performers would adopt French accents for the French scenes but was relieved they did not, with Farrell differentiating between his two characters sufficiently with a well executed Scottish accent for Captain Gray. The fact that everyone was speaking English in France was dealt with as matter-of-factly and skilfully as in the novel, with one of the characters remarking at some point that Stephen’s French was excellent, for which he thanked them.
I had always liked the novel by Faulks. In fact at the time I had first read it I was enthralled by it. A friend of mine remarked the other day that it had felt too much like a novel and I know what she means. It feels terribly contrived at times and is riddled with cliché and the play does not get away with them so well. I really should have re-read the book in order to properly critique the play and also in order to recall whether or not it was truly as good as I remember. Perhaps I was simply seduced by the period as the war fascinates me, as well as the romance, I’m a hopeless romantic. But from memory I know that the narrative sucked you into Stephen’s predicament so you felt strong ties with him. What I liked was the way the powerful and passionate love scenes early on gave Stephen a back-story and purpose that differentiated him from the usual heroes of the trenches. The book is rich with incident and historical detail but is not overloaded with it; here I disagree with my friend. I have read historical fiction that makes a fetish of research, David Mitchell’s latest The Thousand Autumns of Jacob de Zoet did it for long periods, but Birdsong did not. In Birdsong the focus was the emotional and timeless themes of humanity.
Some of the most affecting and accurate of these themes are difficult to express in words on a page, let alone dramatically on stage. There’s no doubt that a lot of what is good from the novel does not successfully transfer and the shame for the play is that Rachel Wagstaff tries to convey Stephen’s motivations and musings poorly. Neither Wagstaff’s writing nor Ben Barnes’ acting is up to the long passages in which Stephen is supposedly composing thoughts for his diary, alone at the front of the stage. Much of the first act, in which Stephen falls for the married Isabelle, is driven by his private reflections. Of course it was always going to be impossible to transform the explicit, erotic sex scenes of the novel to the stage without creating a very different type of production altogether, but for the entire first act you can sense Wagstaff wrestling with the dilemma of how to convey the intensity of Stephen’s love adequately, knowing how vital it is to the events that follow. Somehow in the novel you get caught up and follow Stephen along, not questioning whether this is just seedy, passionate lust or misguided youthful emotions. In the play though when Barnes says “I love you and I always will”, each time it sounds childish and clichéd and I would find myself agreeing with my friend more and more. Barnes just seemed far too smitten in a sickening sense, rather than a stirring, moving one.
In the programme I found that Wagstaff’s first play had been called The Soldier and was set in 1915. So she was on more familiar ground in act two when the action jumps forward to The Somme in 1916 and a wartime setting. It’s disappointing that someone could not have done a better job of act one though as I know how riveted and gripped by it I was in the book and genuinely despondent to find the action skip so far ahead. And caring about the love story becomes so crucial later on. Nevertheless I am making it sound worse than it was. Despite the clunky awkwardness of Barnes’ soliloquy like sections at times, the actual scenes were passable to good, if lacking the emotional power (and erotic excitement) of the novel. And act two was a considerable improvement, despite the tedious diary format continuing, only this time with working class lad Jack Firebrace’s toned down, simpler reflections on things and letters back home. Generally though the camaraderie of the front Wagstaff captures well, with the humour of jolly idiot Berard in act one replaced by male banter and the idiocy of officers.
Another friend of mine, this one a fellow fan of Birdsong, was eager to hear how the tunnels were reproduced on stage. For this was another unique feature of Birdsong’s take on the war: action in the competing tunnels both sides dug out beneath no man’s land for various reasons. There were communication tunnels, fighting tunnels and explosive tunnels for blowing up the enemy from below. Birdsong has nearly been made into a film several times and I always thought that the claustrophobic, atmospheric scenes in tunnels, particularly the shoot-out, would make dramatic action set pieces. And so they did on stage too. Much of the effect of being underground was created through lighting, with blackness enveloping the stage besides gentle amber glows at the front. The rest was done by a low overhanging wall that came about half-way down the stage. The actors would then crawl beneath this, before emerging into the front of the stage, further along the tunnel where you could stand. Then for the fight with German soldiers, when two tunnels found each other, dust poured out along with sounds of an explosion. The Germans emerged stunned and surprised, brandishing pistols at the elevated rear of the stage, looking down on the Brit characters at the front. Shots that smash your ear drums were fired and an even louder, brighter grenade thrown. I had never seen such exciting scenes on stage.
But then I’m still a relative newcomer to theatre. I now have the inclination to discover more of it (particularly the charm and sophistication of Shakespeare) but it’s a world that was mostly cut off to me whilst growing up. Edging my way to my seat was still an act of deft, death defying balance as far I’m concerned. This is not me moaning though; I absolutely love the look and feel of the theatre. Just to know the building oozed history compared to the local multiplex was so interesting and fascinating to me. And even my balcony seat, when suitably armed with £1 binoculars, was the best of both worlds; broad overview of everything coupled with close-ups.
In the final act Birdsong came into its own. Even Barnes, who had struggled to convince me he had the required acting heft to play Wraysford, upped his game a gear. It was now that I remembered how this portion of the novel was the most moving and the play benefitted considerably from ditching the unnecessary modern day section of the novel, which seemed to be there simply to reflect Faulks’ own experiences in researching the book. Faulks and Wagstaff had both been heavily dependent on the diaries of soldiers in their writing process, but the difference was Faulks had interweaved his research in a different, rich style, whereas Wagstaff had actually simply used the diary device in her drama; it seemed unimaginative and unable to truly engage the audience. In this final chunk of the play the lonely speeches at the front of the stage were ditched almost completely and when they were used they worked much better. There was also more time on stage for both Jeanne and Stephen, who had a connection I did not recall from the novels but was intriguing. Jeanne was wonderfully played by Zoe Waites. She seemed strongly drawn to Stephen, desperate to share her sister’s secret with him to ease his gloomy woe but too loyal to break her promise.
Then there were the big climatic scenes: a reunion between Stephen and Isabelle and a claustrophobic collapse that imprisons Jack and Stephen in the tunnels. I wish I could remember the novel better, as I have a feeling there were changes, particularly as I remember a bird being used in the tunnel and Stephen’s phobia manifesting itself down there. Generally though this theme was dealt with well, with some nice dialogue between Stephen and Jeanne when she tries to lift him from depression and they debate the merits and evils of Birdsong. The scene in which Stephen sees Isabelle again was so moving, far more so than the joyous larking about of the early affair by the river and despite these scenes not completely convincing me. I was so affected by the speeches about love, even with some corny, cheesy lines, that I had to rush to the toilet when the play had finished and dispatch a rash text to the one I love in vain; my equivalent of a drunken splurge of affection, so intoxicated was I by the drama that I simply had to tell her I loved her, it was all that mattered. The effect this scene had on me somewhat overshadowed the final scenes with Jack in the tunnel and the rescue and the end of the war. But these were also well done. I was so relieved the play ended on a high and overall there’s no doubt that it was a quality production, if a little flawed at times. From my recollections of the novel though it was never going to surpass its brilliance, merely echo it and be good in different ways.
Is Chivalry Dead?
In a word – yes. Certainly the chivalry of old perished long ago. I’m not saying it died with the knights, although an early form of noble gallantry may well have done. I’m talking about being a gentleman. And it’s been many years since it was normal for every single bloke to be “courteous and considerate” towards the womenfolk and indeed each other. Or at least since we were expected to be.
A certain type of classically dressed chap, who is both suave and selfless, reliable and romantic, is now nothing but a fictional character. He may have always been so, in reality. A combination of factors conspired to kill off his desirability though, many of them good things, like greater gender equality. But some of them not so good.
I think a form of chivalry, an evolved romance and respect for women, still has a place in modern life. In the past I’ve been shot down and put in my place for expressing some sort of view on chivalry by female friends and I would not dare to raise the subject with male ones. In recent days I’ve been reminded of the conflict and decided to turn to blogging to try to articulate my thoughts.
So I do think it is possible to still aspire to be a gentleman, even admirable to do so. But it’s become ridiculously taboo to hold such a good natured view. Try an act of classic chivalry and you’re liable to criticism or it’s assumed you’re a fake using it as a means to a very predictable end. Try to criticise a man for being an arse by saying he’s not living up to gentlemanly standards and duties and you’re being sexist. The last bastions of chivalrous behaviour are under attack not just from the loutish disrespect of some men, which are ever present opponents, but also from feminists who seem to view what was once common decency as a slippery slope back to women being tethered like livestock to the kitchen sink.
I do not mean to sound pompous and arrogant. Of course everyone is entitled to their view. I admit I am entranced by a nostalgia for the past and eras I was never a part of, eager to taste and preserve attributes of times that seemed more honest and honourable, with more to discover and greater purpose to existence. I can be something of a hopeless and foolish romantic at times. I don’t see what is wrong with that; indeed I think it’s refreshing, given that mostly I’m realistic and pessimistic like the world around me.
People striving to capture the essence and best intentions of aspects of the past should not be ostracised. Just because the historical balance of power between men and women has been grossly unfair, does not mean that all the elements of the way women were once treated were wrong. In fact some of the things incorrectly lumped together with the tools of male oppression ought to make a comeback.
If it seems like I am struggling to make my point it’s because I am. The problem is that I can’t really explain or argue my point of view persuasively because it’s something vague I just instinctively feel is right. I don’t have masses of evidence to call upon, just a sense of moral conviction.
I can understand why women might feel patronised by certain gentlemanly acts. I tried to rationalise this by saying to myself that I reserve most of my chivalrous compassion for those women that earn it. This is what I’d say to the feminists, I thought. I am simply considerate and caring to good friends, people I know to be nice or those that I love. That is not solely down to gender.
But then I thought, I’d still hold the door open for a female stranger. I might turn my head a little more if they were attractive but that wouldn’t be the reason. Monster or model, most of the time, if I had the opportunity, I’d hold the door. And I’ve done it for men too, more than most people, but there’s no question I’d be more aware of the ladies and they’d take priority. For example if it was busy and at some point I’d have to pass through the door myself, I’d cut in front of a man far more willingly. Why?
For those of you familiar with Friends, Phoebe’s claim that there’s no such thing as a selfless act will spring to mind, when I say that doing something needlessly kind like holding the door for a stranger, makes me feel good. Regardless of whether the pretty girl flashes me a smile or the less pretty one looks grateful, I’ll feel better about my day. To an extent though this would be true if I was holding the door for a 60 year old chap.
Perhaps that goes someway to answering the issue; being a gentleman now can mean being kind and thoughtful to anybody, not just women. The fact remains though that I still feel an inexplicable duty towards “the fairer sex“, an outdated term which could have petrol bombs and bricks flying through my windows. And I still feel passionately that I shouldn’t be made to feel guilty about that.
If I’m really scraping the barrel for reasons behind my vague, fluffy and inconsistent philosophy, I’ll resort to my ignorant grasp of science. Could it not be said that it’s simply a natural part of humanity, an evolutionary trait, for the man to be protective? We may have rightly moved beyond the idea of the man being the breadwinner but physical differences alone show he can still be a protector.
Women ought to be the equals of men in everything that matters but they’re still held back by a glass ceiling. Cracks might start appearing in that barrier if we admitted that whilst the sexes are unquestionably equal, they still have undeniable differences.
This isn’t really an aspect of the argument I’m all that convinced by though, I hate the overuse of scientific theory and the constant linking of everything to evolution. I am aware I’m treading on controversial ground and I just needed something concrete to say. I come back to the fact that I just feel strongly about this. Probably all because of misplaced and naive romanticism.
I’ve had conversations with friends about relationships, in which I said something like that the girl shouldn’t have to bother herself with extravagant gifts and presents for her chap. I was met with fierce disagreement, unanimously against me. I see the weaknesses of my position, believe me. I know relationships are two-way and as I said earlier I wouldn’t dream of telling anyone what is right for them. I feel very irrational at times holding the view that I do; but nevertheless I hold it.
I think for me it boils down to the fact that I enjoy being romantic and even in friendship I enjoy being supportive and helping out however I can. I like to actively care for people I give a shit about. Shoot me if this is wrong. I know I haven’t put forward any compelling arguments in favour of chivalrous behaviour. But if people are willing to do it and get satisfaction from it too, I don’t see what is so bad about what is essentially kindness and respect.
In an increasingly self-involved culture I think that the ideals of chivalry and the symbolic figure of the gentleman are very British and very necessary influences, that should not be destroyed by misguided taboos.
P.S. I do apologise for such preachy, waffly and poorly expressed writing. I’ll try to deliver something manly and thought through soon-ish
Posted in Personal, Uncategorized
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