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.

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:

THE FROGS | ★★½ | January 2024

2:22 A GHOST STORY | ★★★ | January 2024

THE MIRROR CRACK’D | ★★★ | October 2022

THE TWO POPES | ★★★★ | October 2022

PLAYTIME | ★★★★ | September 2022

THE WELLSPRING | ★★★ | March 2022

BLUE / ORANGE | ★★★★ | November 2021

GIN CRAZE | ★★★★ | July 2021

MOBY DICK

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★★½

“There’s some good and not-so-good slapstick, physical theatre and an all-round quirkiness.”

Spymonkey set out to update Aristophanes’ three-thousand-year-old play – historically, the first staged comedy and use of a comedic double act – and make it relevant to today. They have poignant reasons to do so and these are reflected in a sub-plot that runs parallel to the original. The new version is written by Karl Grose and Spymonkey “with massive apologies to Aristophanes” and is directed by Joyce Henderson.

The stage is set with an array of boxes and crates and paraphernalia. A revolve is set off-centre which is used primarily for comedic effect. A circular mirror is suspended from above, upon which an impressive moon image is occasionally projected (Lucy Bradridge, set & costume designer).

Spymonkey regulars Toby Park and Aitor Basauri are semi-god Dionysus (sporting a fine pair of Cothornos platform sandals – a nice touch) and servant Xanthias who undergo a trip to the Underworld to recover the poet Euripides. To help them on their way, they receive advice from hero Heracles (Jacoba Williams in a fetching muscled body suit with male accoutrements). So far so good, but then our heroes fall into “a scene between the scenes” and find themselves squeezed into a cupboard – the Spymonkey office – and from now on as they continue their interminable journey they slip in and out of their Greek characters and into a character-version of themselves. Jacoba takes on a variety of tentacled, flippered and multi-headed creatures for the heroes to overcome whilst doubling in the here-and-now as an American theatre impresario interested in producing the new show. The whole thing is very meta. But it’s also rather a mess.

Of course, there are laughs a plenty. Aitor is an exceptional clown and, as the Spymonkey dynamic duo establish themselves, he proves himself an able Lou Costello to Toby’s Bud Abbott. But there is too much: the running gag of Aitor’s ass (hee-haw), knowing winks to the audience, asides, adlibs. There’s some good and not-so-good slapstick, physical theatre and an all-round quirkiness. Jacoba tells us that the whole thing is as mad as a box of… well, you know… just as the plot dissolves into a psychedelic acid trip.

Spymonkey themselves mock the length and tedium of Aristophanes’ original monologues and character-Aitor tells us several times that he doesn’t like the ending of the play because it isn’t funny. It’s not a good omen for the second half.

Worthy of mention is the community chorus – the highlight of the show – who techno-tap-dance across the stage in fluorescent yellow cagoules as the frog chorus (Simone Murphy, choreographer). It’s a shame that this happens only the once but then Aristophanes set the precedent for that. Ribbit.

Tag Archives: Royal and Derngate Theatre

MOBY DICK

★★★★★

UK Tour

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