Boing, boing, boing. Yet another play that revels in time-hopping, back and forth. There was some humour, presumably unintended, not in watching Christopher (Ross O’Donnellan) sustain a serious injury – that wasn’t funny – but, because the injury happened early in the play but late in the narrative, in order to set up the next scene, which took place some time earlier, the actor had to quickly get back up again. This kept happening as the storyline periodically returned to the critical incident. It was as good a reason as any as to why there’s nothing wrong with a story told in forward chronological order. Here, Christopher seemingly miraculously recovered so many times I momentarily wondered if someone should inform the Vatican.
I am, of course, reading too much into what is effectively an allegorical play. Christopher has reason to believe the Earth is flat, having been hoodwinked by an influencer called Nigel West, who has put out a huge amount of online content to support the theory. Having befriended Honey (Fanta Barrie) in a Wetherspoons pub (which one isn’t specified), he persuades her to watch West’s videos and make her own mind up. These things should be investigated – apparently – so, having come into money, Honey thinks they should Christopher should join her on a quest to find, as it were, the end of the world. And all of a sudden, Christopher has reservations…
The implications of the story and its consequences are potentially vast – on one hand, Christopher has a point when he talks about things like the child abuse scandal in the Church and Covid-19 being previously believed to be ‘conspiracy theories’, but these days the weight of evidence is too great for any reasonable person to deny their (past) existence. On the other hand, the play explores how even reasonable people can potentially be led to believe something that doesn’t, in the end, check out, such is the power of manipulation and persuasion. In some respects, this is hardly groundbreaking stuff, even if the sheer absurdity of Christopher’s assertion is mined for good comic effect in places.
Cat Fuller’s set is largely static and almost becomes inconsequential, as it’s the dialogue and the performances that really determine where each scene is set. I was impressed by Jamie Lu’s sound design, capturing the danger of shouting too loudly in what appeared to be an enclosed space in Antarctica, not so much potentially triggering an avalanche, but something along those lines, putting Honey and Christopher in further danger. The prevailing weather conditions being what they are in Antarctica meant it was sometimes difficult for the duo to hear one another, even in relatively close proximity – again, captured perfectly.
In the end, however, bouncing between the past and the present made the narrative far more complicated than it needed to be. There were engaging performances from both actors, but the time-hopping made it difficult to maintain focus, as it wasn’t always immediately clear when and where the following scene was taking place. That was a pity, frankly, because the play does have some good points about how what is believable isn’t necessarily true.
Review by Chris Omaweng
Two Flat-Earthers travel to Antarctica to find the edge of the world…
When Honey’s sister dies, she is left with a curious yearning for the South Pole and endless questions. Christopher knows to question everything. He believes that the truth is out there, but it’s hidden from us by the people in power.
In Antarctica, the most inhospitable place on the planet, where nothing is quite what it seems, their unconventional love story turns into a fever dream.
But will they survive discovering what really lies at the ends of the Earth?
Fanta Barrie – Honey
Ross O’Donnellan – Christopher
Jessica Norman – Writer
Imy Wyatt Corner – Director
Cat Fuller – Set and Costume Designer
Hugo Dodsworth – Light and Projection Designer
Jamie Lu – Sound Designer
Hamza Ali – Movement and Intimacy Director
THIS LITTLE EARTH
Arcola Theatre
22 October to 15 November 2025
