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Waiting in Existential Ennui

journey's end r c sherriff script

By Ben Brantley

  • June 19, 2014

Many and contradictory are the claims that have been made for “Journey’s End,” the British playwright R. C. Sherriff’s 1928 portrait of life in the trenches and probably still the greatest of 20th-century English-language war dramas. It has been extolled and reviled as an impassioned plea for pacifism, a jingoistic celebration of homegrown heroes and an indictment of shortsighted military blundering.

Yet Sherriff (1896-1975), a former insurance adjuster who served as a captain on the Western Front near Ypres, Belgium, insisted he never tried to make a political statement with what became his first produced play. “I wrote it to satisfy myself alone,” he said in a speech in 1929. “I wanted to place on record one simple story of the war before memory died.”

That assertion helps account for the enduring power of “Journey’s End,” which received a Tony when it returned to Broadway in 2007. True, the play embraces elements that are now clichés of war narratives in theater and film, including an easily parodied assortment of barracks archetypes (the hysteric, the naïf, the upper-class alcoholic, the father figure).

But there was something revolutionary in the depiction of the soul-crippling boredom that remains so much of the soldier’s life. For “Journey’s End” is not a drama of action but of inaction.

Its characters, who don’t know when they’ll be summoned into battle, are confined to cramped quarters where the most exciting pastime is racing cockroaches.

They keep asking what time it is, hoping and fearing that their mandatory idleness will end, and falling into silences that breed dangerous thoughts about the meaning of it all. What’s truly subversive is the way this naturalistic play uses realism to create a sense of how surreal life becomes when examined, in empty silence, in the shadow of imminent death.

Listen to Captain Stanhope, who drinks himself into numbness, a role originated in London by Laurence Olivier: “D’you ever get a sudden feeling that everything’s going farther and farther away, till you’re the only thing in the world — and then the world begins going away, until you’re the only thing in the universe — and you struggle to get back — and can’t?” Utterly conventional in structure and dialogue, “Journey’s End” paradoxically anticipates the absurdists and existentialists who later reshaped the modern drama. Decades before Samuel Beckett presented life as an exercise in fruitless and ceaseless anticipation, Sherriff’s soldiers were already waiting for their own elusive Godot.

journey's end r c sherriff script

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    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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    Journey's End Robert Cedric Sherriff (1896-1975) served in the First World War as a Captain in the 9th East Surrey Regiment. He was wounded at Passchendaele in 1917 and awarded the M.C. Before and after the war Sherriff had worked as an insurance salesman and had no previous experience of the professional theatre.

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    June 19, 2014. Many and contradictory are the claims that have been made for "Journey's End," the British playwright R. C. Sherriff's 1928 portrait of life in the trenches and probably ...

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    Journey's End, first performed in 1928-29, is based on playwright R.C. Sherriff's World War I experience as a Captain in Britain's East Surrey regiment. Set in the rat-infested trenches near St Quentin, France, in March 1918, the play makes reference to several World War I battles, weapons and combat terms.

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    Rowing Club. R.C. Sherriff composed and staged his first play in order to raise money for Kingston Rowing Club so that the organization could purchase a new boat. The Big Screen. Since it first premiered, Journey's End has been staged many, many times. In 2018, though, it was adapted as a feature film for the first time.

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