John Whiting's plays are so rarely produced these days. However, despite the lack of productions, Whiting the playwright has not been forgotten, as there is a prestigious playwriting award named after him, established in 1965 and continuing to this day.

Marching Song premiered in Cardiff, then London in 1954 and was first produced by the Tower Theatre in 1955. Whiting had served in the Royal Artillery, being 22 when war broke out, and so the theme of the play, dealing with the aftermath of a major war, was something he was very familiar with.

The play charts the return of General Rupert Foster (Simon Boughey) to the home of his wealthy American lover, Catherine de Troyes (Mary Rodgers), built for the two of them. She now lives there with Dr Matthew Sangosse (Jonathan Norris) and Father Anselm (Peter Novis) who provide chemical and spiritual comfort to her. Also in residence is an old friend – an American documentary filmmaker (Richard Pedersen).

As the play progresses, we learn that General Foster was a well-respected soldier, a leader of men, who found himself held prisoner by his own country for treason, for nine years, due to something which happened in the last days of the war which the country then lost – we assume to America as we are told the young people listen mostly to American music. The newly elected Chancellor (Robert Pennant Jones) visits and it becomes clear that although General Foster might appear free, he is effectively under house arrest and will have to take part in a trial to clear his name which could have repercussions on him, the Chancellor and the country.

General Foster comes to realise that his future is quite bleak and that the best course of action for him, those around him and the country is for him to take his own life, as the Chancellor has requested. In this way the country can blame him for their losses and move on and he will eventually become an inverted sort of hero.

The play is not an easy one to warm to or fully understand. I think the director, Penny Tuerk, had her work cut out as quite frankly, I found Marching Song was for me a totally un-engaging and inarticulate script. I have spoken to others who saw the production and enjoyed it greatly. We all had different views on the play's themes/message, ranging from how the themes of war still resonate today, that it could be about any Middle-Eastern, East European, post-communist regime with a recent war, that it's a play about honour and dishonour, that it is an allegorical tale about old and new regimes and policies, represented by the silent imposing figure on the balcony and the breath of fresh air which is Dido Morgen (Helen McGill), the young visitor who falls in love with the General and convinces him to do what the Chancellor suggests but for the sake of his own honour rather than the country or the Chancellor.

It didn't help me that many of Whiting's characters weren't always credible in their actions. I still have trouble believing that a woman such as Catherine would wait so long for a lover who was "always cruel after making love". Or that the same woman would, on the General's return, so coldly give her friends notice that they had to move out and make their own way by the next day. Or that she would so calmly and quickly realise and come to terms with the fact that Dido can make Rupert believe in himself again and beg this girl who has won his heart to stay in her home to convince him to live. Neither did I quite believe the speed with which, after one day of meeting General Foster, Dido tells General Foster that she loves him. But these are criticisms of the play rather than the production.

We were introduced to the play initially by an empty, obviously expensive and post-modern room. This set by Lea Tunesi, assisted by Helen Rutherford, was perfect and magnificent with an imposing sweeping staircase and minimalist un-cosy furniture giving us no clue as to when or where we are, which was absolutely appropriate. It looked cold, ostentatious and moneyed - the first clue to the fact that we aren't really meant to warm to anyone who lives here. I also liked the imposing and sweeping staircase, although it did seem underused and only really came into focus when General Foster slowly descended to announce his return and slowly ascended it alone to take his own life. The costumes, designed by the same team, again, had an 'any time' feel with a particularly thirties/forties flavour but with modern touches. As we are never told where exactly we are, or when, this was all exactly appropriate.

On the balcony as the audience entered was, with his back to us, an imposing Gestapo type figure (Laurence Tuerk) in black hat and long black leather coat. This presence remains throughout until the very end of the play when he is dismissed.

We are introduced to the play's characters and backstory by Harry Lancaster (Richard Pedersen) who brings a local girl, Dido (Helen McGill) whom he has ‘picked up' in a bar to supposedly help with his new film.

With regard the performances, Simon Boughey as General Forster was every inch the cold military man who was not broken in any way by prison or defeat. However, he seemed, to me at least, however charismatic as an actor, almost too cold and hard for two women to love him so deeply and quickly respectively. There didn't seem to be any thaw due this love although it obviously does touch him, but again this is the way his character was written, rather than the performance.

Mary Rodgers' American in Europe certainly fit the bill of the wealthy, aloof, sophisticated socialite in looks, voice and manner. Her serene contentment at the return of her lover, her anger when he said he no longer loved her and the devastation when she was left alone again were certainly believable and moving, although again, I felt the limitations of the script held her back somewhat.

Richard Pedersen's US accent was not flawless but certainly better than some I have recently heard on various stages. I wasn't totally convinced he had ever been a true success with the ladies but this added to the desperation of the character. Perhaps it is 'all talk' and as Catherine says, "he doesn't even take them to bed now". The whimpering leer, which Richard gave to Harry's character, was both pathetic and annoying, which was pitched exactly right.

Helen McGill as Dido was suitably rebellious, outspoken and down to earth. She was attractive and sensual but not typically beautiful as is often mentioned in the play by both herself and others. She was engaging and charismatic and found a lot of humour in her role but again I felt the actress was hindered by a script that never quite gave her enough time or the correct words to match her emotion to what she said.

As the 'villain' of the piece Robert Pennant Jones actually brought some humour and certainly gravitas to the play and to his role as the Chancellor. The juxtaposition of this ruthless politician who dares request (and fully expects compliance) that a man commit suicide for the sake of the government and country but then, much like a kindly grandfather, asks if he can come again for tea was, in the hands of this extremely capable actor, actually believable.

Jonathan Norris and Peter Novis were a lovely and totally believable double act as the doctor and the priest. I actually found myself caring more about these two than any of the other characters in the play.

Chris Sherwood played the cold and business-like young Captain who arrives to collect the General. He held the stage extremely well at the end of the play. He was actually quite engaging as an un-engaging character and I fully believed he had risen in the ranks quickly and probably ruthlessly.

And so to sum up, sadly this was one of those plays that never really engaged me, although many others sincerely did enjoy it. However, the direction, performances and designs sufficiently covered up a great deal of flaws to make a worthy production.

Photography by David Sprecher