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Act three opens with Osborne asking Stanhope to send all of his materials to his wife. The two reminisce about life in England. Raleigh survives the mission, but Osborne does not. The raid successfully captures a German. When the higher commands ask Stanhope how the raid went, it’s clear that they don’t care if men died but if they captured a German who they can milk for information.
The scenes between the men were extremely subtle and really drove home the complete and utter futility of it all. And I think it’s this subtlety that made the final scene all the more haunting. Stanhope is angry that Raleigh has been allowed to join him and describes the boy as a hero-worshipper. As Stanhope is in a relationship with Raleigh's sister Madge, he is concerned that Raleigh will write home and inform his sister of Stanhope's drinking. Stanhope tells Osborne that he will censor Raleigh's letters so this will not happen; Osborne does not approve. But I love the theatre and I’ve wanted to read Journey’s End for a while now because I’ve heard it was beautiful and tragic. And they are my favourite adjectives when it comes to literature.
A gentleman’s game?
Geoffrey Dearmer of the Incorporated Stage Society suggested that Sherriff send the script to George Bernard Shaw, because a good word from him would convince the ISS committee to stage it. [1] Shaw replied that, like other sketches of trench life, it was a "useful [corrective] to the romantic conception of war", and that "As a 'slice of life' – horribly abnormal life – I should say let it be performed by all means". [1] Colin Clive as Stanhope in the 1929 production of Journey's End, directed by James Whale
Journey's End opened as a semi-staged production running for two nights at the Apollo Theatre. [1] It starred Laurence Olivier, then only 21, offered the role of Stanhope by the then equally unknown director James Whale. [1] Under a new producer, Maurice Browne, the play soon transferred to the Savoy Theatre where it ran for three weeks starting on 21 January 1929. [2] The entire cast from the Apollo reprised their roles ( George Zucco playing Osborne and Maurice Evans Raleigh) except for Olivier, who had secured another role and was replaced by Colin Clive as Stanhope. [3] The play was extremely well received: in the words of Whale's biographer James Curtis, it "managed to coalesce, at the right time and in the right manner, the impressions of a whole generation of men who were in the war and who had found it impossible, through words or deeds, to adequately express to their friends and families what the trenches had been like". [4] It transferred to the Prince of Wales Theatre, where it ran for a further two years. The play is the basis for the film Aces High (1976), although the action was switched from the infantry to the Royal Flying Corps. As with many films of this oeuvre, there are brave young officers and there are good-humoured working-class soldiers – but it is left to a heavy-drinking army captain, Dennis Stanhope (played by Sam Claflin), a former captain of “rugger” at his private school, to reflect on the horror before leading his men out to die. She doesn't know that if I went up those steps into the front line – without being doped with whisky – I'd go mad with fright.”Curtis, James (1998). James Whale: A New World of Gods and Monsters. Boston: Faber and Faber. p.71. ISBN 0-571-19285-8. i would just like to know what happens afterwards. does Stanhope quit drinking and go home? do they all just die? Every now and then I want to read a play; as for this one, I don't know how I 'found it.' It was recently made into a movie, but I hadn't watched it, or known of its existence. I might have discovered it here on Goodreads...
Osborne describes the madness of war when describing how German soldiers allowed the British to rescue a wounded soldier in no man's land, while the next day the two sides shelled each other heavily. He describes the war as "silly". There's tension here, sights and sounds of a terrible war, mixed with moments of friendship, camaraderie and the routines of normal English life. Still, everyone is on edge - some more than others - as they await the inevitable. And a lot of people may dismiss the scenes and the conversations as slow but I think that is the whole point and what makes the. In the films set around WW1 there is always something happening, shells exploding, machine guns hammering but in reality there was a lot of time where the men were just waiting. Sherriff had trouble getting Journey's End produced in the West End, writing that "Every management in London had turned the play down. They said people didn't want war plays [...] 'How can I put on a play with no leading lady?' one [theatre manager] had asked complainingly." [1] Sherriff used No Leading Lady as the title of his autobiography, published in 1968.Walters, Emily Curtis (2016). "Between entertainment and elegy: the unexpected success of R. C. Sherriff's Journey's End (1928)". Journal of British Studies. 55 (2): 344–73. doi: 10.1017/jbr.2016.3.
Set over a period of four days from 18th – 21st March 1918, it recounts the experiences of the officers of a British Army company. The scenes take place in the trenches around Saint-Quentin in the days leading up to Operation Michael and the beginning of the German Spring Offensive.In 2015 the Shute Theatre and Arts Guild (STAG) staged a production of the play in St Michael's Church, Shute, Devon, directed by Elisabeth Miller. [15] Journey's End is a 1928 dramatic play by English playwright R. C. Sherriff, set in the trenches near Saint-Quentin, Aisne, towards the end of the First World War. The story plays out in the officers' dugout of a British Army infantry company from 18 to 21 March 1918, providing a glimpse of the officers' lives in the last few days before Operation Michael.
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