All My Pretty Ones at Birmingham Rep Review

Written by Katie for Theatre & Tonic

Disclaimer: Gifted tickets in exchange for an honest review

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All My Pretty Ones, written by Patrick Hayes, is a haunting and ambitious piece that attempts to weave a fictional contemporary frame around the true and devastating events that unfolded in the French village of Oradour in June 1944. While the play's premise is powerful and deeply moving, the production at The Birmingham REP struggled to live up to the weight of its subject matter fully.

The story follows three medical students, Miriam (German), Marie Christine (French), and Steve (British), who, stranded by a storm in rural France, find refuge at a guesthouse owned by Maurice. Through the discovery of an old diary, the students (and the audience) are transported back to the Second World War, where the horrors of the Nazi massacre in Oradour are gradually unveiled.

It must be said that the script felt undercooked in parts. The first act, in particular, could have been trimmed by a good twenty minutes, and at times the dialogue felt tentative, as if the actors were still finding their footing with the lines. However, Act Two found its emotional rhythm, anchored by some stand-out performances that offered moments of real theatrical power.

Giles Whorton (Hans) and Clement James (Pierre) were extraordinary. Each delivered heart-wrenching monologues that cut straight to the bone - raw, sincere, and deeply affecting. James gave what might be one of the most devastatingly moving monologues I’ve seen on stage. His presence was magnetic, and he offered a natural, grounded performance throughout the show that drew the audience in completely. Meanwhile, Whorton delivered a performance full of complexity, tenderness and humanity. He became a person, not just a Nazi, offering a crucial reminder that personal stories often defy historical binaries.

Talyaan Pambou’s portrayal of Steve was energetic and charming - very much like an eager golden retriever. Though his tone occasionally clashed with the gravity of the story, he brought levity and warmth that the play needed. Annaliese Morgan as Claudine was also lovely to watch, bringing a natural ease to the role. Her relationships on stage, with her parents (Clement James and Bryony Tebbutt) and best friend Monique (Leah Fennell), felt genuine and effortless, creating a sense of comfort that helped the audience connect with her character.

It was also genuinely touching to watch the French cast members perform their own cultural history - there was a palpable sense of respect and connection there. Unfortunately, not all accents held up to scrutiny. Andrew Cullum (Maurice), while well-intentioned, slipped noticeably into RP, and there were a few moments where I picked up on a tell-tale brummie twang, where some of the actors' intonation went up at the end of their lines.

Some elements faltered. The slow-motion death scenes felt heavy-handed and melodramatic, draining rather than adding emotional weight. There was also a moment of technical awkwardness when the set seemed to be mid-transformation before the actors simply abandoned it and carried on - momentum was lost there. Maurice’s final foray into the audience, urging us to tell everyone the story, felt more preachy than poignant, particularly as it was a one-off rather than an integrated motif.

Despite these flaws, the play's message is undeniably important. The simple but resonant phrase, "We Can't Forget," lingers long after the lights go down. The four-piece band deserves a mention too—their subtle, elegant underscoring added a layer of atmosphere and emotion that helped carry the production through some of its shakier moments.

All My Pretty Ones is a play that takes on the difficult task of reckoning with historical trauma, the responsibility of remembrance, and the deeply personal stories that lie behind the statistics. While its execution is uneven at times, with pacing issues and some underdeveloped writing in Act 1, the production finds its footing in the second half, where emotional truth takes centre stage. Ultimately, All My Pretty Ones succeeds not just in reminding us of the horrors of the past, but in introducing a new generation of performers with the emotional depth and presence to carry such weighty material. There’s promise here - both in the message and the talent behind it.

At Birmingham Rep until 17 May 2025

★★★