Long-time London resident and avid museum and theatre-goer. I started this blog in 2014, and got serious about it in 2020 when I realised how much I missed arts and culture during lockdowns. I go to a lot more events than anyone would think is sensible, and love sharing my thoughts in the forms of reviews, the occasional thought piece, and travel recommendations when I leave my London HQ.
SWING! SWING! ADMIRAL BYNG! – The Playground Theatre, London
4 mins
SWING! SWING! ADMIRAL BYNG! at the Playground Theatre is a thoughtful look at legacy and justice, with strong performances and clever design, though uneven pacing holds it back.
I like serendipitous moments. One happened to me recently when I heard that a play was going to be on at the Playground Theatre on the subject of Admiral John Byng. If you are a regular Salterton Arts Review reader with a prodigious memory, you might remember we’ve encountered him before. On my mega week of Open House London adventures last September I included a trip to Wrotham Park just over the Hertfordshire border. At the time, I described the events under discussion today as such:
“Wrotham Park was built for Admiral The Hon. John Byng, forebear of current owner Robert Byng, 9th Earl of Strafford. Poor old John Byng never got to enjoy it, however, as he was executed for “failing to do the utmost” to prevent Minorca falling to the French. The family have tried to clear his name several times since.”
From those couple of sentences, I now had the opportunity to learn much more, in the third installation of Christopher Swann’s “Forgotten Trilogy”.
Peter Tate, who we’ve seen before in The Girl in the Green Jumper, plays Admiral Byng with the gravitas of a Shakespearean tragic hero. The play covers the last two days before Byng’s execution, and you might expect a tense, desperate mood. But instead, Byng is mostly stoic and resigned to his fate, understanding the need for a scapegoat. He occasionally lapses into regret and frustration, but otherwise remains dignified and calm.
This slow, steady tone might explain why the play sometimes feels low on urgency. I think this shows the danger of a writer also directing. A bit of trimming or sharper pacing might have helped, as several scenes don’t push the action forward. Quite a few characters, including Byng’s sister Sarah (played by Corinna McDermott), deliver speeches with uncanny insight into future ideas like feminism, ghosting, or cancel culture, but these aren’t developed enough to land meaningfully. I did enjoy the use of historic ballads, performed live by Randy Smartnick and James Shenoi, between scenes. It struck me that this might have been a clever place to explore the “cancelled” idea more deeply. After all, weren’t these songs the social media of their day, spreading stories and shaping reputations?
I was also surprised to realise I’d met Admiral Byng before, many years ago, in Voltaire’s Candide. Voltaire famously mocked the British tendency to execute their admirals “pour encourager les autres” (“to encourage the others”). In the play, Voltaire himself appears in a surprising dream sequence, played with vigorous energy by Merric Boyd (who also takes the role of Byng’s friend Captain Hervey).
One of the more thought-provoking themes running through the play is legacy. Would Byng have been remembered if he hadn’t been executed? Probably not. Is it better to be notorious than forgotten? I’m not sure, but the play raises the question nicely.
The performances are generally solid, even if character development is limited. Chris Barritt’s servant Hutchens, for instance, stays firmly in the “simple, faithful servant” mould. I suspect the story might have felt stronger if it had broadened its focus beyond just the final two days, or focused on a reduced cast of characters.
Visually, the production is pleasing. Peter Bingemann’s set design uses moveable canvas sails and a canvas backdrop that feels appropriately nautical. Helena Hipólito’s projections add visual variety, and Christopher Swann’s immersive sound design rounds out the atmosphere.
Overall, Swing! Swing! Admiral Byng! is an interesting exploration of a historical figure whose name deserves remembering, even if the play itself doesn’t fully come together. It raises thoughtful questions about legacy, reputation, and history’s harsh judgments.
If you’re in West London and curious about either the performances or the historical angle, it’s worth heading to the Playground Theatre to check it out.
Salterton Arts Review’s rating: 3/5
SWING! SWING! ADMIRAL BYNG on until 17 May 2025. More info and tickets here.
