“Visually, the production is stunning from the moment you enter the space”
The Wider Earth is a new play by David Morton being performed in the Jerwood Gallery of the Natural History Museum, after a sell out run at the Sydney Opera House. It explores Darwin’s maiden journey on the HMS Beagle, where he began to form his theory of evolution. It follows him and the members of the crew on their journey across the world, Christian missionaries and scientists side by side.
Visually, the production is stunning from the moment you enter the space, it’s a shame it doesn’t keep to the same standard throughout the whole performance, the issue lying mainly in the fact that it merges different artistic styles, creating an almost amateur effect within the projections. Moments within the play, combined with the mismatched style of the projections, made me feel like I was in an exhibition at a museum, whether or not that was the desired effect, I have no idea. However it left me feeling displaced.
Occasionally the story becomes stilted, especially as the writer struggles to fit in the scientific explanation accurately into the story. It briefly touches on the more ‘unsavoury’ aspects of Darwin’s generation, although it needs to explore them deeper, rather than sugar coating slavery, even if the desired audience is for families and children. Morton, however, does a brilliant job of realising his play on the stage, naturally fitting comfortably in the role of director.
There were moments that were absolutely gorgeous, for example the supplies sequence which was beautifully timed and an absolute pleasure to watch. The puppets, created by Dead Puppet Society, were beautifully intricate, and brought each of the Beagle’s destinations to life. The whole cast worked fantastically as a team, all puppeteering several different animals, and providing each one with their own personality including a very personable iguana. Bradley Foster as Darwin was strong throughout and his interactions with puppets were utterly convincing.
Sound and lighting, were aspects of the production that at times seemed to overpower the very versatile and deceptively simple set. The music, by Lior and Tony Buchan, was beautiful, but excessive sometimes. The production, often, fell into the ‘too much’ category and could have been a lot more effective, by taking away a lot of the glitz and glamour.
Overall a beautifully directed play, about an important era in history. With its glorious cinematic score, and some stunning visuals, it brings to life a story that previously only existed in books and specimens.
Reviewed by Charlotte Hurford
Photography by Mark Douet
The Wider Earth
Jerwood Gallery, Natural History Museum until 30th December
“the moderate dynamics throughout jar with the harrowing threads of the story”
Neurologist, Juliana Smithton, is successful and self-assured but while presenting her recent work – treatment for dementia – to a group of specialists, she becomes distracted. Karen Archer’s strong performance portrays a Juliana fighting to deny the signs of illness and come to an acceptance of the past. Scratching the surface, we discover a vulnerability disguised as assertiveness and then, as the layers peel away, we begin to understand her fragility. ‘The Other Place’ is not just about dementia. It also depicts what, when and how we remember and the relationships it affects.
Sharr White’s writing is cleverly structured to follow Juliana’s state of mind from confusion to calm. The fragmentary scenes of the first part which mirror her illusion, disillusion and reality lead to her refuge in ‘the other place’, her childhood house, where she feels secure among her memories. The make-up of the story, however, is less well shaped. Dementia and its life-changing consequences for everyone involved is already a distressing situation. Adding a tortuous family tragedy to illustrate the entanglement of her thoughts undermines the poignancy; the loose ends ensuing from that part of the story leave us curious as to the uncharacteristic behaviour of the parents towards their daughter. Heavy-handed humour comes across as deliberate light relief rather than naturally through personality and the whole play wraps up just a little too neatly.
In contrast to Juliana’s hostile accusations and frustrated forgetfulness, Neil McCaul, as Ian, gives us some moving moments as a husband trying to cope with the wife he loves and whose familiarity is disappearing, though his behaviour towards her is, at times, oddly blasé. In supporting roles Eliza Collings draws three well-defined characters who challenge Juliana in different ways and Rupinda Nagra has a reassuring presence on stage in contrast to the surrounding disquiet. Claire van Kampen astutely directs this experienced cast with a focus on Juliana’s puzzle of past and present but the moderate dynamics throughout jar with the harrowing threads of the story and the interpretation feels underplayed in relation to the language of the script.
The simplicity of the stylish wooden set (Jonathan Fensom) is perfect for the comings and goings of the action and as a backdrop for Paul Russell’s classy lighting design. Beautifully inventive and atmospheric, it works in conjunction with the creativity of the sound (John Leonard) to paint the scenes. With a strong technical flair alongside confident performances, touches of drama and humour, food for thought and an ending full of hope, ‘The Other Place’ brings to the Park Theatre, a piece of good, intellectual entertainment.
