Journey’s End: Reviewed

Megan McCully reviews Journey’s End

On yet another Wednesday evening, I found myself battling the elements towards the Barron Theatre to see Mermaids’ latest offering. This particular night, it was a take on the popular play “Journey’s End” by R. C. Sheriff, which premiered starring a young Laurence Olivier 90 years ago. Having loved the 2017 film adaptation of the play, I was eager to experience the dialogue as it was intended: the movie itself couldn’t escape the fact that the script was meant for a stage and not a film set (though I still thoroughly recommend it – Paul Bettany, Asa Butterfield and Sam Claflin in one movie is more than we deserve, to be frank).

Performed as one of eight productions during the Mermaids Freshers Drama Festival, “Journey’s End” allowed its small cast to undertake the obligatory foray into war drama that awaits all (male) actors. Set in an officers’ dugout on the French frontlines of the First World War, the play explores the psychological effects of war and its tragic senselessness. Charlie Flynn’s directorial effort understandably cut down the length of the play, but still gave most of its characters the development they deserved.

Flynn himself took on the role of young Raleigh, who arrives young, gung-ho and fresh out of training to take his place under his childhood friend, Stanhope. Flynn captured Raleigh’s inherent naivety well, as well as its inevitable disintegration into shell-shocked trauma. Sam Gray had the unenviable task of portraying the play’s most charismatic character, an older solider fondly known as “Uncle”. Lanky and weary, slouching into his armchair with a pipe and book in hand, he immediately conveyed Uncle’s wisdom and experience. His low voice was accordingly controlled and measured, if at times too quiet to hear. He stood as a calm antithesis to the constant anger of Stanhope (Joe Torkington), the officer-in-charge and Raleigh’s aforementioned childhood friend. Torkington’s imposing frame, shrouded in an impressively authentic-looking coat, dominated the space.

Photo: Mermaids

Charles Vivian’s Hibbert was perhaps an insight into what Stanhope once was – just beginning to feel the strain of terror, to be pushed to the edge by the fear provoked by the noises and smells of trench-life. Harry Ledgerwood provided a comedic alternative – and a regional one, with his familiar Scottish tones – in Trotter, with an easy charm while still showing a man trying to find the light in a pretty dark situation. Finally, Mason was portrayed by Yazmin Taylor. Why the role was made female doesn’t matter: she was delightfully funny and homely, providing easy comedic relief in an otherwise bleak play.

The performances were all consistent and well-defined – every character was identifiable by their traits, be it resignation, trauma, humour or inexperience. Perhaps too consistent, however – Uncle was perpetually melancholic; Stanhope perpetually irate. The joy of having a script that’s concentrated in one space and built on character dynamics is the opportunity to find the character’s lapses: where do they let their guard down? When should their true dispositions be revealed? For example, giving Uncle some points of apparent levity or optimism may have then highlighted his hopelessness later on; similarly, allowing Stanhope more moments of genuine vulnerability may have humanised him slightly. Every play I’ve reviewed thus far has featured an inexplicably angry man, and they have been, for the most part, a bit tiring to watch. Anger is exhausting; too much of any one emotion is – for audiences as much as it is for actors.

That’s not to take away from the performances given. Cutting scenes (which I am only assuming they did, going by the hour run-time) was always going to make it harder to develop characters fully, so all in all the performers did very well with what they had. They were helped by the selection of period music which evoked the world of 1918, whilst the naturalistic set, costume and lighting all combined to transport us to the bleak and dreary reality of the trench. Ending with a rendition of the “Last Post” was a nice touch, if a bit abrupt: it added poignancy in a very simple manner that certainly would have resonated particularly with British audience members familiar with the tune.

So, this production of “Journey’s End” ticked all the boxes for a classic war drama with committed performances of terrorised soldiers and a naturalistic approach to design. It didn’t make any ground-breaking moves or revolutionise the genre, but it didn’t really set out to. If it was an indication of what this year’s haul of thespian freshers has to offer, then I’m optimistic. Hopefully this Freshers Festival has given creators the confidence to go forth and start taking risks in future productions, and I for one am looking forward to seeing what those risks are.

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    我們如何向G搜尋引擎表明該網站具有流動性:

    個帶有主要訊息的主頁反向鏈接
    我們透過來自受信任網站的重定向來建立反向連接。
    此外,我們將網站放置在單獨的網路分析器上,網站最終會進入這些分析器的高速缓存中,然後我們使用產生的連結作為部落格、論壇和評論的重定向。 這個重要的操作向G搜尋引擎顯示了網站地圖,因為網站分析器顯示了有關網站的所有資訊以及所有關鍵字和標題,這很棒
    有關我們服務的所有資訊都在網站上!

  13. Pirámide de backlinks
    Aquí está el texto con la estructura de spintax que propone diferentes sinónimos para cada palabra:

    “Pirámide de backlinks

    Después de varias actualizaciones del motor de búsqueda G, necesita aplicar diferentes opciones de clasificación.

    Hay una técnica de llamar la atención de los motores de búsqueda a su sitio web con backlinks.

    Los vínculos de retroceso no sólo son una táctica eficaz para la promoción, sino que también tienen flujo de visitantes orgánico, las ventas directas de estos recursos más probable es que no será, pero las transiciones será, y es poedenicheskogo tráfico que también obtenemos.

    Lo que vamos a obtener al final en la salida:

    Mostramos el sitio a los motores de búsqueda a través de enlaces de retorno.
    Conseguimos conversiones orgánicas hacia el sitio, lo que también es una señal para los buscadores de que el recurso está siendo utilizado por la gente.
    Cómo mostramos los motores de búsqueda que el sitio es líquido:
    1 backlink se hace a la página principal donde está la información principal

    Hacemos enlaces de retroceso a través de redirecciones de sitios de confianza
    Lo más IMPORTANTE colocamos el sitio en una herramienta independiente de analizadores de sitios, el sitio entra en la caché de estos analizadores, luego los enlaces recibidos los colocamos como redirecciones en blogs, foros, comentarios.
    Esta crucial acción muestra a los buscadores el MAPA DEL SITIO, ya que los analizadores de sitios muestran toda la información de los sitios con todas las palabras clave y títulos y es muy efectivo.
    ¡Toda la información sobre nuestros servicios en el sitio web!

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  15. Unlock the incredible potential of Puravive! Supercharge your metabolism and incinerate calories like never before with our unique fusion of 8 exotic components. Bid farewell to those stubborn pounds and welcome a reinvigorated metabolism and boundless vitality. Grab your bottle today and seize this golden opportunity! https://puravive-web.com/

  16. GlucoBerry is one of the biggest all-natural dietary and biggest scientific breakthrough formulas ever in the health industry today. This is all because of its amazing high-quality cutting-edge formula that helps treat high blood sugar levels very naturally and effectively. https://glucoberry-web.com/

  17. 프라그마틱에 대한 글 읽는 것이 흥미로웠어요! 또한, 제 사이트에서도 프라그마틱과 관련된 정보를 제공하고 있어요. 함께 발전하며 지식을 나눠봐요!
    프라그마틱 무료

    프라그마틱의 게임은 언제나 풍부한 그래픽과 흥미진진한 플레이로 유명해요. 이번에 새로운 게임이 나왔나요?

    http://www.customercaresupportnumber.com/
    https://habermahmutlar.com/hot/
    https://adanaport.com/link/

  18. هنا النص مع استخدام السبينتاكس:

    “بناء الروابط الخلفية

    بعد التحديثات العديدة لمحرك البحث G، تحتاج إلى تنفيذ خيارات ترتيب مختلفة.

    هناك شكل لجذب انتباه محركات البحث إلى موقعك على الويب باستخدام الروابط الخلفية.

    الروابط الخلفية ليست فقط أداة فعالة للترويج، ولكن تحمل أيضًا حركة مرور عضوية، والمبيعات المباشرة من هذه الموارد على الأرجح لن تكون كذلك، ولكن الانتقالات ستكون، وهي حركة المرور التي نحصل عليها أيضًا.

    ما سنحصل عليه في النهاية في النهاية في الإخراج:

    نعرض الموقع لمحركات البحث من خلال الروابط الخلفية.
    2- نحصل على تحويلات عضوية إلى الموقع، وهي أيضًا إشارة لمحركات البحث أن المورد يستخدمه الناس.

    كيف نظهر لمحركات البحث أن الموقع سائل:
    1 يتم عمل رابط خلفي للصفحة الرئيسية حيث المعلومات الرئيسية

    نقوم بعمل وصلات خلفية من خلال عمليات تحويل المواقع الموثوقة
    الأهم من ذلك أننا نضع الموقع على أداة منفصلة من أساليب تحليل المواقع، ويدخل الموقع في ذاكرة التخزين المؤقت لهذه المحللات، ثم الروابط المستلمة التي نضعها كتحويل على المدونات والمنتديات والتعليقات.
    هذا التدبير المهم يُظهر لمحركات البحث خارطة الموقع، حيث تعرض أدوات تحليل المواقع جميع المعلومات عن المواقع مع جميع الكلمات الرئيسية والعناوين وهو عمل جيد جداً
    جميع المعلومات عن خدماتنا على الموقع!

  19. PotentStream is designed to address prostate health by targeting the toxic, hard water minerals that can create a dangerous buildup inside your urinary system It’s the only dropper that contains nine powerful natural ingredients that work in perfect synergy to keep your prostate healthy and mineral-free well into old age. https://potentstream-web.com/

  20. Player線上娛樂城遊戲指南與評測

    台灣最佳線上娛樂城遊戲的終極指南!我們提供專業評測,分析熱門老虎機、百家樂、棋牌及其他賭博遊戲。從遊戲規則、策略到選擇最佳娛樂城,我們全方位覆蓋,協助您更安全的遊玩。

    Player如何評測:公正與專業的評分標準
    在【Player娛樂城遊戲評測網】我們致力於為玩家提供最公正、最專業的娛樂城評測。我們的評測過程涵蓋多個關鍵領域,旨在確保玩家獲得可靠且全面的信息。以下是我們評測娛樂城的主要步驟:

    娛樂城是什麼?

    娛樂城是什麼?娛樂城是台灣對於線上賭場的特別稱呼,線上賭場分為幾種:現金版、信用版、手機娛樂城(娛樂城APP),一般來說,台灣人在稱娛樂城時,是指現金版線上賭場。

    線上賭場在別的國家也有別的名稱,美國 – Casino, Gambling、中國 – 线上赌场,娱乐城、日本 – オンラインカジノ、越南 – Nhà cái。

    娛樂城會被抓嗎?

    在台灣,根據刑法第266條,不論是實體或線上賭博,參與賭博的行為可處最高5萬元罰金。而根據刑法第268條,為賭博提供場所並意圖營利的行為,可能面臨3年以下有期徒刑及最高9萬元罰金。一般賭客若被抓到,通常被視為輕微罪行,原則上不會被判處監禁。

    信用版娛樂城是什麼?

    信用版娛樂城是一種線上賭博平台,其中的賭博活動不是直接以現金進行交易,而是基於信用系統。在這種模式下,玩家在進行賭博時使用虛擬的信用點數或籌碼,這些點數或籌碼代表了一定的貨幣價值,但實際的金錢交易會在賭博活動結束後進行結算。

    現金版娛樂城是什麼?

    現金版娛樂城是一種線上博弈平台,其中玩家使用實際的金錢進行賭博活動。玩家需要先存入真實貨幣,這些資金轉化為平台上的遊戲籌碼或信用,用於參與各種賭場遊戲。當玩家贏得賭局時,他們可以將這些籌碼或信用兌換回現金。

    娛樂城體驗金是什麼?

    娛樂城體驗金是娛樂場所為新客戶提供的一種免費遊玩資金,允許玩家在不需要自己投入任何資金的情況下,可以進行各類遊戲的娛樂城試玩。這種體驗金的數額一般介於100元到1,000元之間,且對於如何使用這些體驗金以達到提款條件,各家娛樂城設有不同的規則。

  21. Player線上娛樂城遊戲指南與評測

    台灣最佳線上娛樂城遊戲的終極指南!我們提供專業評測,分析熱門老虎機、百家樂、棋牌及其他賭博遊戲。從遊戲規則、策略到選擇最佳娛樂城,我們全方位覆蓋,協助您更安全的遊玩。

    Player如何評測:公正與專業的評分標準
    在【Player娛樂城遊戲評測網】我們致力於為玩家提供最公正、最專業的娛樂城評測。我們的評測過程涵蓋多個關鍵領域,旨在確保玩家獲得可靠且全面的信息。以下是我們評測娛樂城的主要步驟:

    娛樂城是什麼?

    娛樂城是什麼?娛樂城是台灣對於線上賭場的特別稱呼,線上賭場分為幾種:現金版、信用版、手機娛樂城(娛樂城APP),一般來說,台灣人在稱娛樂城時,是指現金版線上賭場。

    線上賭場在別的國家也有別的名稱,美國 – Casino, Gambling、中國 – 线上赌场,娱乐城、日本 – オンラインカジノ、越南 – Nhà cái。

    娛樂城會被抓嗎?

    在台灣,根據刑法第266條,不論是實體或線上賭博,參與賭博的行為可處最高5萬元罰金。而根據刑法第268條,為賭博提供場所並意圖營利的行為,可能面臨3年以下有期徒刑及最高9萬元罰金。一般賭客若被抓到,通常被視為輕微罪行,原則上不會被判處監禁。

    信用版娛樂城是什麼?

    信用版娛樂城是一種線上賭博平台,其中的賭博活動不是直接以現金進行交易,而是基於信用系統。在這種模式下,玩家在進行賭博時使用虛擬的信用點數或籌碼,這些點數或籌碼代表了一定的貨幣價值,但實際的金錢交易會在賭博活動結束後進行結算。

    現金版娛樂城是什麼?

    現金版娛樂城是一種線上博弈平台,其中玩家使用實際的金錢進行賭博活動。玩家需要先存入真實貨幣,這些資金轉化為平台上的遊戲籌碼或信用,用於參與各種賭場遊戲。當玩家贏得賭局時,他們可以將這些籌碼或信用兌換回現金。

    娛樂城體驗金是什麼?

    娛樂城體驗金是娛樂場所為新客戶提供的一種免費遊玩資金,允許玩家在不需要自己投入任何資金的情況下,可以進行各類遊戲的娛樂城試玩。這種體驗金的數額一般介於100元到1,000元之間,且對於如何使用這些體驗金以達到提款條件,各家娛樂城設有不同的規則。

  22. 娛樂城評價
    Player線上娛樂城遊戲指南與評測

    台灣最佳線上娛樂城遊戲的終極指南!我們提供專業評測,分析熱門老虎機、百家樂、棋牌及其他賭博遊戲。從遊戲規則、策略到選擇最佳娛樂城,我們全方位覆蓋,協助您更安全的遊玩。

    Player如何評測:公正與專業的評分標準
    在【Player娛樂城遊戲評測網】我們致力於為玩家提供最公正、最專業的娛樂城評測。我們的評測過程涵蓋多個關鍵領域,旨在確保玩家獲得可靠且全面的信息。以下是我們評測娛樂城的主要步驟:

    娛樂城是什麼?

    娛樂城是什麼?娛樂城是台灣對於線上賭場的特別稱呼,線上賭場分為幾種:現金版、信用版、手機娛樂城(娛樂城APP),一般來說,台灣人在稱娛樂城時,是指現金版線上賭場。

    線上賭場在別的國家也有別的名稱,美國 – Casino, Gambling、中國 – 线上赌场,娱乐城、日本 – オンラインカジノ、越南 – Nhà cái。

    娛樂城會被抓嗎?

    在台灣,根據刑法第266條,不論是實體或線上賭博,參與賭博的行為可處最高5萬元罰金。而根據刑法第268條,為賭博提供場所並意圖營利的行為,可能面臨3年以下有期徒刑及最高9萬元罰金。一般賭客若被抓到,通常被視為輕微罪行,原則上不會被判處監禁。

    信用版娛樂城是什麼?

    信用版娛樂城是一種線上賭博平台,其中的賭博活動不是直接以現金進行交易,而是基於信用系統。在這種模式下,玩家在進行賭博時使用虛擬的信用點數或籌碼,這些點數或籌碼代表了一定的貨幣價值,但實際的金錢交易會在賭博活動結束後進行結算。

    現金版娛樂城是什麼?

    現金版娛樂城是一種線上博弈平台,其中玩家使用實際的金錢進行賭博活動。玩家需要先存入真實貨幣,這些資金轉化為平台上的遊戲籌碼或信用,用於參與各種賭場遊戲。當玩家贏得賭局時,他們可以將這些籌碼或信用兌換回現金。

    娛樂城體驗金是什麼?

    娛樂城體驗金是娛樂場所為新客戶提供的一種免費遊玩資金,允許玩家在不需要自己投入任何資金的情況下,可以進行各類遊戲的娛樂城試玩。這種體驗金的數額一般介於100元到1,000元之間,且對於如何使用這些體驗金以達到提款條件,各家娛樂城設有不同的規則。

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