★★★

“The energy expended by Samuel and Ward is exhilarating”

The Actors Touring Company revives its production of Dave Harris’s thought-provoking play from Stratford East two years ago with newcomer Clifford Samuel stepping into the role of Tambo alongside Daniel Ward’s original Bones. It’s a strange piece, certainly, with the opening scene revelling in its Beckettian absurdity. Tambo (top hat and tails) and Bones (waist coat and bowler) are minstrels in a fake world of painted scenery and cut-out trees (Set and Costume Designers – Sadeysa Greenaway-Bailey and ULTZ).

As the pair’s antics verge closely on clowning, the chemistry between the two actors is immediately evident. But there’s an edge in the comedy which splits this audience; some laughter from the stalls suggests it’s the funniest thing ever, whilst others are hearing the darker overtones. The pair discuss how they can escape their situation; Bones wants to perform cheap tricks for our money, whilst Tambo would like us to understand the history of the black person’s experience.

Moving forward, the pair are now hip-hop stars and the second scene is an extended live performance. The two men bid to out rap each other whilst a DJ at the back mixes the beats. Is it the director himself, Matthew Xia, in his persona of Excalibah behind the mask? Stage smoke and powerful lighting (Ciarán Cunningham) provide the stadium performance atmosphere. The energy expended by Samuel and Ward is exhilarating but for the predominantly white middle-aged audience, it’s also rather bemusing. If there is something to be learnt through the poetry, then we don’t get it.

The futuristic third scene with its Orwellian overtones shakes things up again. The stage is stripped bare and, in a brave piece of writing and direction, our two heroes passively narrate the story of the history of the new world whilst two white robots mime the action. Jaron Lammens and Dru Cripps as X-Bot-1 and X-Bot-2 provide the performance of the night. There’s surely never been a better choreographed and performed scene of robotic movement than this. Disappointingly, a final piece of action important to the ultimate meaning of the play and that should be devastating in its effect misses its punch.

Dave Harris’s play won’t be to everyone’s taste, with the long central hip-hop performance particularly divisive. But there is no questioning the commitment, versatility and brilliance of the performers.

MOBY DICK at the Royal and Derngate Theatre

★★★★★

“It is one of the finest pieces of theatre I have seen”

Simple8 present an ambitious adaptation (by Sebastian Armesto) of Herman Melville’s epic 1851 adventure, directed by Jesse Jones. There is a minimal set (designer Kate Bunce) of scaffolding on either side of the stage. Through the haze can be discerned a cache of musical instruments – fiddle, cello, dulcimer, drum.

Ishmael (Mark Arends) – a well-spoken, well-dressed schoolmaster – sets the scene. He has come to Nantucket to join a whaling ship, just for the experience. As he moves from bar to bar, he hears talk of the mysterious one-legged Captain Ahab, and the name Moby Dick, anathema to many, whispered in hushed tones. Overnight, Ishmael befriends the gentle savage Queequeg (Tom Swale), and together they join the whaling ship Pequod, fatefully chosen at random.

Now the story can start in earnest. The stage is transformed as the brilliant ensemble, singing and playing throughout, builds an impression of the ship using just wooden planks and ropes. A life at sea is recreated – swabbing the deck, sharing some rum, singing songs. If much of the period dialogue is somewhat stilted, the ensemble excels at their dumbshow set-pieces. The crew man the capstan, turning the imaginary wheel with cries of heave and haul, the efforts of their hard work clear to see. A beautiful rendition of a sailing ballad is heard (Jonathan Charles musical director) as the backcloth shines in green and blue reflecting on the romance of the sea (Johanna Town lighting designer).

And then the spell is broken by the sighting of the crew’s first whale. A most brilliantly conceived and executed scene ensues. The crew row out to chase the whale, to subsequently haul it in and demonstrably kill it. The stage is flooded with red light to emphasize the bloody nature of the deed. It is one of the finest pieces of theatre I have seen.

The narrative, as in the novel, is driven by Ishmael and Mark Arends gives a towering performance in this central role – quietly spoken but assured. Captain Ahab (Guy Rhys) does a lot of shouting – the mantra is “Kill Moby Dick” – but we don’t get to the bottom of his obsession beyond that of having lost a leg. The well-spoken Hannah Emanuel gives rather a too light touch in the important role of Mr Starbuck who is the only crew member able to stand up to Ahab. Something more appropriately rougher is provided by the first mates (James Newton & William Pennington). But this is ultimately an ensemble piece with music and movement (Rachael Nanyonjo movement director) central to the storytelling and this talented cast of actor-musicians are excellent throughout. Special mention too for the cellist whose imitative sounds of whale music, especially during the final chase, is so central to the effectiveness and poignancy of the scenes.

TAMBO & BONES

Royal & Derngate Theatre

★★★

“The energy expended by Samuel and Ward is exhilarating”

TAMBO & BONES

Royal & Derngate Theatre then UK Tour continues

Reviewed on 11th March 2025

by Phillip Money

Photography by Jane Hobson

Previously reviewed at this venue:

TAMBO & BONES

TAMBO & BONES

TAMBO & BONES

MOBY DICK at the Royal and Derngate Theatre

★★★★★

“It is one of the finest pieces of theatre I have seen”

MOBY DICK at the Royal and Derngate Theatre as part of UK tour

Reviewed on 10th April 2024

by Phillip Money

Photography by Manuel Harlan

Previously reviewed at this venue:

MOBY DICK

MOBY DICK