The play Journey’s End is based on the writer Robert Cedric Sherriff’s own experience of the front line, situated in a dug-out near St Quentin before the last German offensive of WWI. It is set in the three days leading up to Operation Michael (Der Kaiserschlacht) in which began on the 21st March 1918. Sherriff had a talent for writing dramatic dialogue, however, it was difficult to secure commercial production of the play in the beginning because of its controversy.
Sherriff’s involvement in the war was as the Captain of the ninth battalion of the East Surrey regiment. He fought in numerous battles such as: battle of St Quentin, Somme crossing, battle of Rosieres and the battle of Avre (March – April 1918).
The first performance of the play was on Sunday 9th and Monday 10th December 1928 at the Apollo Theatre. It did not have promising prospects as it was helmed by James Whale an untried director and Laurance Olivier was cast as Stanhope, meaning there was no popular actors involved. The critics were pleased by the first performance, however, the commercial managements were not so interested as there was no leading lady figure. Eventually Sherriff met Maurice Browne, and through his friendship with Dorothy and Leonard Elmhirst an extremely wealthy couple, the play found a source of funding. Browne had made a deal with the Elmhirsts that if he “produced a play in which he believed in, irrespective of whether he felt they were commercial or not” then they would support his next theatrical venture. And so, the original cast of the Incorporated Stage Society was employed for West End Transfer, and Laurence Olivier was replaced by Colin Clive. Browne having had previous experience in promoting classical theatre in America shocked the ticket agencies in a refusal to accept their offer of bought seats in bulk for a discounted price, as eventually the play had such an enormous demand they had to follow his terms instead. By the end of 1929, fourteen companies were performing the Journey’s End play in English, and there were another seventeen translations in Europe. The play was hugely successful in both Europe and America, and provided Sherriff with being full-time writer.
The play explores key themes such as heroism, friendship and the horrors of war. During Raleigh’s school years he had looked up to Stanhope as a hero because he was rugby captain, house prefect and taught him how to be successful. Stanhope had three years experience, won a military cross and was the company commander. Raleigh joined Stanhope’s company in the hope of indulging in his presence. Osbourne was the only person to realize this hero worship as he states “it often goes on all through life… There’s something very deep, and rather fine, about hero-worship.” Stanhope is continually paranoid that Raleigh will tell the love of his life about his alcoholism, and decides to censor his letters, however to his dismay, instead he discovers Raleigh writes “I’m awfully proud to think he’s my friend.” The change in Stanhope’s behavior however did not change the attitude or reaction of his former friend, showing the strong bond between the men.
The friendship between Stanhope and Hibbert is peculiar as their comradeship is a special kind of bond generated by the constant threat of death or mutilation. Hibbert attempts to leave the front line by pretending to fall sick, of course Stanhope realizes and characterizes him as “another little worm trying to wriggle home.” The confrontation between the two is highly dramatic, as he attempt to leave he shouts hysterically and begs, eventually striking the commander, however, the climax is reached when Hibbert faces being shot in the head rather than facing more time in the trenches. Hibbert is seen to be a coward as he delays going to his post in the trenches by asking for more water, the only way Stanhope persuades him to leave is to accompany Mason from the dug out, even he refuses to disgrace himself in front of a servant.
Stanhope is affected by the horrors of the war through looking beyond reality and loosing his senses, in his consistent struggle to find normality. He uses alcohol to numb his memories and painful experiences. On the other hand, Trotter uses an alternative way to cope with this, as he draws one hundred and fourty-four circles to represent each hour of the days. As each circle is completed a sense of relief dawns nearer with more time.
The play is emotionally and psychologically confusing to understand, however it is very inspiring and shocking. The previous three paragraphs have come from my own research online, however, as far as I can remember they conform to the play we all saw. Katy MB
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