A contemplative biography of a forgotten man, this seafaring show examines injustice, hope and self-worth
A strong production design of sweeping sails, authentic period piece props and a powerful leading man casts us off for the next two hours and twenty minutes as we delve into the life on an unsung man of history.
Writer-director Christopher Swann provides the final in his military trilogy, focusing here on naval history in the form of Admiral John Byng, the only admiral to be executed by firing squad. It is a genuinely interesting topic, and one which has not really been creatively explored elsewhere. I was personally drawn to this play because Admiral Byng was alive during the time of my own naval ancestor, Admiral Sir John Balchen, and I wondered if they ever knew each other, given that Admiral Balchen served under his father, Admiral George Byng.
Through expositional soliloquies and contemplative dialogues, the show examines themes of loss, legacy and love. Over the last two nights of his life, Byng takes the audience with him as he explores notions of blame, pride and the creation of a national scapegoat. We learn that he was given an impossible task to prevent the island of Menorca being taken by the French. Refusing to allow his outnumbered men to die at the hands of the French, he was instead blamed by the English government for what he describes as a tactical retreat. Byng’s words, delivered by masterful actor Peter Tate were “I would rather be buried in the deep than the dirt”.
Whilst the story is genuinely interesting, the pacing is patchy. At times points are repeated and laboured, at other times, interesting asides are glossed over. Humour is stilted and clumsy, often revolving around tropes of “old person is bumbling” or “promiscuous seamen can’t settle down”. None of the characters presented as multi dimensional. For example at one point Byng’s sister Sarah (played by Corrina McDermott) monologues about how invisible women are and longs to be taken seriously. This is never mentioned again.
The second half started strong, with a meaningful last supper for Byng and his closest loved ones, however it took a bizarre turn where the audience is treated to a dream sequence in which French philosopher Voltaire (played animatedly by Merric Boyd) tries to placate Byng, saying he will add a passing line about him in his upcoming book Candide, as though that ought to be sufficient legacy. Given the script is peppered with various anti French jokes, it felt ironic Voltaire be given such importance and lengthy stage time to Byng’s final sleep.
There are repetitive themes of hope, what ifs and injustice. The overarching theme was one of contemplation and acceptance, and nothing more. I would have liked to see the court hearing for Byng’s fate, to show the opposing side’s justification. As it happens, we only learn of events through Byng’s despondent lens. I think this show would benefit from the use of a dramaturg; it would shine as a shorter, one-man show, or perhaps use the longer time length to explore an in depth biographical look at Byng’s upbringing, naval success and personal battles. We are offered only mere glimpses and it is a shame.
My ancestor was ultimately buried in Westminster Abbey, a venerated naval man whose magnificent monument is visible to all. Byng was executed to be lost to the annals of history. The name of a Potters Bar Wetherspoons is his current legacy. It is right that we should remember his true story, and this play is a strong start.