Belasco Theatre, (2/22/2007 - 6/10/2007)

First Preview: Feb 08, 2007
Opening Date: Feb 22, 2007
Closing Date: Jun 10, 2007
Total Previews: 15
Total Performances: 125

Category: Play, Drama, Revival, Broadway
Description: A play in three acts
Setting: A dugout in the British trench near St. Quentin, France; March 1918.

Opening Night Production Staff

Theatre Owned / Operated by The Shubert Organization (Gerald Schoenfeld: Chairman; Philip J. Smith: President; Robert E. Wankel: Executive Vice President)

Produced by Boyett Ostar Productions, Stephanie McClelland, Bill Rollnick, James D'Orta and Philip Geier

Originally produced in London by Background Productions

Written by R. C. Sherriff

Directed by David Grindley

Scenic Design by Jonathan Fensom; Costume Design by Jonathan Fensom; Lighting Design by Jason Taylor; Sound Design by Gregory Clarke

General Manager: Alan Wasser and Allan Williams; Company Manager: Penelope Daulton

Technical Supervisor: Larry Morley; UK Technical Supervisor The Production Desk, Ltd.; Production Stage Manager: Arthur Gaffin; Stage Manager: David Sugarman

Casting: Jay Binder and Jack Bowdan; Press Representative: The Pete Sanders Group; Marketing: HHC Marketing; Advertising: The Eliran Murphy Group, Ltd.; Dialect Coach: Majella Hurley; Fight direction by Thomas Schall; Fight Captain: John Behlmann; Logo and Artwork Design: Frank 'Fraver' Verlizzo; Photographer: Paul Kolnik

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Opening Night Cast

Hugh Dancy
Broadway debut
Captain Stanhope
Boyd GainesLieut. Osborne
Jefferson MaysPrivate Mason
Stark Sands
Broadway debut
2nd Lieut. Raleigh
John Ahlin2nd Lieut. Trotter
Nick Berg Barnes
Broadway debut
Lance Corporal Broughton
John Behlmann
Broadway debut
Private Albert Brown
Justin Blanchard
Broadway debut
2nd Lieut. Hibbert
Kieran CampionGerman Soldier
John CurlessCaptain Hardy
Sergeant Major
Richard PoeColonel

Understudies: Nick Berg Barnes (2nd Lieut. Trotter, Captain Hardy, Sergeant Major), John Behlmann (Captain Stanhope, German Soldier, Lance Corporal Broughton), Kieran Campion (2nd Lieut. Hibbert, 2nd Lieut. Raleigh, Private Albert Brown, Private Broughton), John Curless (Colonel, Private Mason) and Richard Poe (Lieut. Osborne)

Awards and Nominations

Tony Award®

winner 2007 Best Revival of a Play [winner] 

Produced by Boyett Ostar Productions, Stephanie McClelland, Bill Rollnick, James D'Orta and Philip Geier

 2007 Best Actor in a Play [nominee] 

Boyd Gaines

 2007 Best Featured Actor in a Play [nominee] 

Stark Sands

 2007 Best Direction of a Play [nominee] 

David Grindley

 2007 Best Scenic Design of a Play [nominee] 

Jonathan Fensom

 2007 Best Lighting Design of a Play [nominee] 

Jason Taylor

Drama Desk Award

winner 2007 Outstanding Revival of a Play [winner] 

Produced by Boyett Ostar Productions, Stephanie McClelland, Bill Rollnick, James D'Orta and Philip Geier

winner 2007 Outstanding Featured Actor in a Play [winner] 

Boyd Gaines

winner 2007 Outstanding Sound Design [winner] 

Sound Design by Gregory Clarke

Theatre World

winner 2007 Award [recipient] 

Stark Sands


AP: "'Journey's End' examines honor and duty"

Duty. Honor. Responsibility. Words that get bandied about a lot these days, particularly regarding the war in Iraq.

They were a pretty big deal, too, nearly 80 years ago when "Journey's End," R.C. Sherriff's drama of life in the trenches of World War I, first opened in London. So it's not surprising that the play remains an affecting evening of theater for today's audiences, a potent reminder of the human cost of conflict.

Director David Grindley's exceptional production, which opened Thursday at Broadway's Belasco Theatre, is as straightforward as the play. No gimmicks, unless you count the stereophonic rumblings of the guns and the bursts of mortar fire that seem to rattle the ancient Belasco to its venerable foundation.

In designer Jonathan Fensom's dimly lighted dugout setting, a world has been created in which hierarchy, tempered by a bit of hardy camaraderie, is all. Sherriff's play is carefully crafted, as he painstakingly sets up his plot and characters.

Nowhere is that precision more pronounced than in the creation of his central figure, Stanhope, the upper-crust commander of an infantry company in the British trenches in France. Even before Stanhope appears, we learn from the others on stage that he is a troubled soul. The man drinks, among other things.

In Hugh Dancy's jangly, nerves-exposed performance, Stanhope is a soldier trying to wrap his head around the horrors of the front lines — and survive. "Do you think this life sharpens the imagination?" he asks at one point. For him, that imagination leads to nightmares.

Those fears are heightened by the arrival of Raleigh, an idealistic, younger man who idealized the older Stanhope when they were together in school.

Stanhope's turbulence is steadied by another officer in the company, Osborne, an innately decent man portrayed with calm, understated common sense by a solid Boyd Gaines.

"There's something very deep, and rather fine, about hero-worship," says Osborne as Stanhope frets that Raleigh will become disillusioned or even disgusted at the man Stanhope has become.

The play's most moving moment occurs late in the evening when Osborne and Raleigh (a touchingly earnest Stark Sands) are about to be sent out on a dangerous mission, a job with minimal chance of success.

The two men talk of ordinary things — hot cocoa, forest hiking, "Alice in Wonderland" — before going off to face the Germans. "Stiff upper lip" may be the quintessential stereotype about an Englishman doing his duty, but their brave, seemingly inconsequential conversation is profoundly moving.

Sherriff also expertly captures existence in the confined quarters of the dugout, a gloomy, claustrophobic environment pierced by candlelight. 

Touches of humor are allowed to creep in — most of it supplied by Jefferson Mays as an efficient, inventive cook, making do with what supplies he has, and John Ahlin as a boisterous fellow soldier.

There's even a scene or two with a quivering shirker (Justin Blanchard) who is told by Stanhope to pull it together and fight.

"Journey's End" has always had a special resonance for British audiences, and Grindley recently directed a London revival that had a lengthy run. Yet the play has universal appeal. 

The staggering sense of loss depicted by "Journey's End" in this sterling revival will continue to haunt theatergoers for a long, long time.


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