More than a touch of absurdism permeates proceedings in this one act play, which subtly explores the possibilities of what could happen if people were, by way of rather peculiar circumstances – such as a trip to the Arctic – separated from their regular routines to the point where access to mobile telephony and the internet is (more or less) non-existent. Some would, I suppose, welcome it. Relatively few would bother going beyond thinking about it, and some would note the irony in Googling ‘Arctic expeditions without internet’ (other search engines are available, of course). I would imagine it’s one of those trips that those who find themselves asking ‘how much is it?’ can’t afford it.
Laura (Judith Amsenga), a small ship’s captain, tells her guests periodically, but repeatedly nonetheless, that she is in charge of their lives. It’s reasonable to assume this means she takes their safety on board seriously, although (without giving too much away) the phrase takes on a literal meaning. On board is Alys (Eleanor Dillon-Reams), who apparently makes a living as a full-time poetry translator, sent by her publisher on this voyage. ‘The others’ include Alejandro (Gian Carlo Ferrini), an artist with a sketchbook who gives a short presentation in Spanish even though it transpires his conversational English is perfectly reasonable, and Wonder (Katy Schutte), who begins by strumming a ukelele. Nobody asks why Wonder is called Wonder, though the singer-songwriter has some recordings under her belt, and is looking for inspiration from the sounds of the Arctic.
The storyline itself wasn’t the most riveting, truth be told, but there’s still lots to appreciate in this multilayered production which, unlike many smaller-scale shows, has a slickness and speed in between scenes that keeps the fairly brisk momentum going. Megan Lucas’ lighting design does well to portray various situations, though commendably there’s no attempt to recreate the Northern Lights, as the dialogue is sufficiently enthusiastic in its description of them to warrant no further embellishments.
Both the lighting and Russell Ditchfield’s sound design are atmospheric – it’s not so much that the audience believes the group really is out at sea in literal Arctic conditions but that their experiences are highly convincing. What do those unusual noises represent? Naturally, I can’t answer that (spoilers, y’see). Some of them are created by the cast, others aren’t, and the audience is kept engaged in what’s going on by some unpredictable plot twists.
There’s an initial frustration that they can’t take their original planned route straight away as the weather conditions make the crossing too dangerous. As the days go on, the kind of tension one might expect arising from a group of people being in each other’s faces at close quarters for an extended period starts to simmer – and without the manipulative techniques of producers on a reality television programme. In a case of, to use a quote attributed to Lord Acton, “Power tends to corrupt, and absolute power corrupts absolutely”, the show demonstrates the dangers of blindly accepting supposedly expert knowledge. A thought-provoking yet entertaining production.
Review by Chris Omaweng
“We do not take the journey; the journey takes us.”
Set on a tall ship, a selected group of artists voyage to The Arctic Circle. The aim? To create their finest work, inspired by life on the ‘edge of the world’.
However, not everyone is suited to the terrain: isolated from her emails and barista coffee, successful poetry translator, Alys is forced onto the creaking boat by her publisher to live with a group of strangers. While crossing the perilous ‘Devil’s Dancefloor’, all communication with the outside world is lost and the mysterious Arctic guide, Laura challenges the others to give in to the elements.
As the ice melts, exposing dangers from an ancient world, the true wild nature of the Arctic is revealed, along with the increasing deep marks left on its environment by humanity. Through infinite days and nights on the waves, the artists’ work becomes more dangerous and an ancient being is stirring from the cold dark waters beneath. How far will each go to create the greatest work of their lifetime?
Cast: Eleanor Dillon-Reams (Alys), Judith Amsenga (Laura), Gian Carlo Ferrini (Alejandro), Katy Schutte (Wonder)
Written by Katy Schutte; Directed by Madeline Moore; Designer: Cory Shipp; Dramaturg: Sam Pout; Lighting Designer: Megan Lucas; Sound Designer: Russell Ditchfield; Movement Director: Mark Conway; Producer: Katherine Henry
THE ICE AT THE END OF THE WORLD
Omnibus Theatre
24 September to 12 October 2024
