Moby Dick review: minimal staging creates expansive imaginary world

Jesse Jones, artistic director of Royal and Derngate, had been speaking on NLive radio about the upcoming production based on Herman Melville’s novel Moby Dick.

Originally performed in 2013 by Simple8 theatre ensemble, it has been reworked into a brand new touring production by Simple8 in association with Royal and Derngate and directed by Jesse Jones, which opened at the Royal theatre this week.

The story serves as an extraordinary adventure, placing its characters on a 19th century whaling ship with a a captain consumed with avenging the whale that dismembered him.

Full of allegory, its significance lies in the subtext of toxic leadership; the pursuit of selfish ambition over the collective good, and considering the book was written over 170 years ago, remarkably reveals Melville’s foresight into climate change and environmental destruction.

Condensing this 600 + page novel into a 60 -page script, Sebastian Armesto has crafted a version ripe with vivid imagery and humour, particularly in portraying the voracious whale, prompting audiences to visualise the object of obsession in the mind’s eye.

How does one recreate a 19th century whaling ship? Simple8 thrives on minimalism, creating expansive worlds with scant props – a few planks of wood, some scrubbing brushes, a rope or two – drawing the audience into a uniquely credible and atmospheric seafaring experience in the first act.

The script, enriched with 19th century and sea-faring nuances and accompanied by sea shanties played by a skilled ensemble of actor/musicians, transports the audience back in time.

The staging is highlighted by skilful lighting (Johanna Town)– much of the action takes place under a central spotlight and the stage becomes flooded in an ambient red haze as the crew kill their first whale.

Mark Arends, as Ishmael, delivers a performance with a a blend of whimsy and intellectual fervour, seeking adventure and an escape from a mundane existence.

The suspense builds aboard the ship Pequod, with the introduction of Captain Ahab only just before the intermission, and while Moby Dick remains largely unseen, an ominous figment of the imagination, his presence is felt through the crew’s tall tales and physical performance.

The story unfolds through ensemble-driven physical theatre, showcasing group cohesion that captures the essence of the collective led array by an obsessive captain.

For those unfamiliar with the book – a group which I admit includes myself – certain references such as the marriage of Ishmael to harpooner Quiqueg were moments offering a humorous twist.

Guy Rhys, with his manic stare, injects a tangible sense of obsession into the role of Captain Ahab, blending the ‘mental’ into ‘elemental’ with his mantra ‘Death to Moby Dick.’

Hannah Emanuel, as Starbuck and Syreeta Kumar as Peleg were chosen in leading roles. Their performances seemed so believable, it didn’t cross my mind for a moment that they were women playing in a man’s world.

Musical director and ensemble member Jonathan Charles delivered a comic touch in his role.

The only slight downside for me was the play’s emphasis on the group dynamic; it was difficult to grasp the individual motivations of the characters – their characters didn’t develop - leaving me struggling to feel empathy for both the sailors and Captain Ahab. By concentrating on the collective, I struggled to feel a connection to or concern for their individual destinies.

The staging was excellent; the acting good. In terms of a piece of visual theatre, this adaptation is a must-see.

‘Moby Dick’ will be shown at the Royal Theatre until Saturday 13th April before embarking on a Uk tour. Catch it while you can.