Review-Journey's End (6.8.07)

Journey's End (Friday, 6.8.07)
Belasco Theatre, New York, NY

By: R.C. Sherriff (playwright), David Grindley (direction), Jonathan Fensom (scenery/costumes), Jason Taylor (lighting), Gregory Clarke (sound)

Starring: Boyd Gaines (Osborne), Jefferson Mays (Mason), Stark Sands (Raleigh), Hugh Dancy (Stanhope), John Ahlin (Trotter), Justin Blanchard (Hibbert)

At the conclusion of the “Journey’s End,” the revival of the 1928 play about World War I, there is a good minute of the sound of bombing – no talking, no lights on stage – just the sounds that would have filled the air in 1918 when this play takes place. It is a powerful moment, one which doesn’t give you much time to really think – it just invokes an immediate gut reaction.

The effect sets a perfect tone for the conclusion of the play. The feeling is not necessarily one that is different from that achieved at other times during the play – but the difference is that at the conclusion, the audience reaction is more visceral.

What is just so wonderful and moving about Journey End, though, is that the piece largely avoids relying on pyrotechnics or cliche scenes in order to achieve its emotional effect. Rather, the piece relies on building character, through conversation. There is never a dull moment, even though the action all takes place in a relatively dimly lit officer’s lodge in a trench. The “action” is only referred to – we never actually see any of it on stage. But what we do see on stage are the interactions which tell us far more about the characters on stage than any action scene could ever tell us.

The cast is uniformly excellent. Boyd Gaines is excellent as the elder statesman of the group, reliable and good-hearted and loyal to his men. Hugh Dancy is especially compelling as the young and charismatic, but equally troubled, commander, and Dancy has some unexpected moments in the second and third acts. Jefferson Mays and John Ahlin have some wonderful comic moments, with Mays in particular approaching the role with droll humor. And Stark Sands delivers a lovely performance as Raleigh, and gets to show the transformation that war can make on a man.

The lighting and scenic design are appropriate to the setting, although I would have preferred just a little more light to better see the fine acting going on before me. The direction is seamless, and given that the entire play takes place in one room, it is especially fluid.

Journey’s End is an actor’s delight. The roles are not necessarily easy to play – indeed, there is a great deal of nuance to be had – but the roles are meaty, with lots of opportunity to build character. The show is a perfect demonstration of why Broadway needs more straight plays – to give actors an opportunity to shine as they do here.