The history of literature is peppered with books that everyone recognises and everyone thinks they know about but hardly anyone has read. New Yorker Herman Melville wrote many works of fiction, including the posthumously published Billy Budd, Sailor, now much better known as an opera by Benjamin Britten. But none has stayed in the public’s mind more firmly than Moby Dick, published in 1851 and today recognised as one of the Great American Novels. I confess I haven’t read it fully, only dipped into it; to be honest, Simple8’s production in association with the Royal and Derngate is the closest I’ve ever been to understanding what this whale of a tale is all about.
Call me Ishmael, our narrator confides in us at the start of both the book and the play, instantly setting up an informal connection with his audience. As the only – spoiler alert, sorry – survivor of the Pequod’s final voyage, we trust him to tell us the truth. He says he loves life at sea and needs to escape there occasionally – in modern parlance, for the sake of his mental health. Yet as we follow his journey from sleeping on an inn floor, befriending Queequog the whaler, and encouraging the owners of the Pequod to let the two of them join the ship, we realise – no pun intended – that he is indeed a fish out of water. He has much to learn about the ways of the waves, which helps us to identify with him, as we see the story unfold through his eyes.
Melville wrote Moby Dick in an eclectic style. Formal, floral, and fanciful, but also erudite, educational, and almost anarchic. On the face of it, it’s a simple story about a man taking revenge on a whale for having bitten his leg off. However, it’s not a conventional adventure story in the way you might consider, say, Treasure Island to be. Yes, there is adventure within the plot; as there is also the peril of the high seas, the terror of a whale attack, and the inevitable fear of loss of life. And the final few chapters of the book are packed with those kind of Boy’s Own Comic thrills.
But this isn’t the book’s overall purpose. Much has been written about the allegorical nature of the book and its religious significance, which can best be understood through the Biblical names of the characters involved. Ahab, beware Ahab, warns the Captain’s chief mate, Starbuck, and that seems to me to be the ultimate message of the story. Captain Ahab is so committed to killing Moby Dick that all common sense flies out of the window; he is prepared to risk everything, including the lives of all the men under his command, for that one, selfish, quest. Man is often his own worst enemy, and this is a perfect illustration of that sad truth.
Jesse Jones’ production of Sebastian Armesto’s adaptation excels at the storytelling. Ishmael’s experiences are relayed to us with direct simplicity and clarity, and we can easily understand the sequence of events that leads us to the final fatal scene. The inclusion of sea shanties adds to the nautical flavour of the piece and reflects Melville’s own use of songs as part of the book. Johanna Town’s lighting for the production is perfectly judged and adds enormously to our appreciation of the show. The set design by Kate Bunce is delightfully minimalistic and it’s extraordinary how you can conjure up a convincing impression of a ship with just a few planks, ropes and steel frames. All in all, the staging looks terrific.
There are some great performances too. The whole cast work together as an ensemble superbly well, many of them taking to their musical instruments at the same time, appearing as many diverse characters. Mark Arends plays Ishmael with an honest and intimate nature, opening up as he gains confidence in his surroundings. His developing friendship with Queequog – a warm and generous performance by Tom Swale – is elegantly and beautifully expressed. Guy Rhys plays Ahab as not so much a tyrant but more a man fixated and determined on his own course of action. Amongst the other roles, I loved James Newton’s brief appearance as the English Captain Boomer, but everyone does an excellent job.
However, for me, there is one big problem with this production. Whether it is in pursuit of Melville’s unusual writing style or the allegorical nature of its meaning I am not sure, but for a story that involves mortal danger, thrilling chase, and a ruthless environment, it all comes across as terribly safe. Quiet, sometimes tentative, occasionally cosy, I felt little sense of adventure or danger. Important climactic moments feel too clean and clinical, almost as though the drama has been choreographed out of it. Even the sea shanties, superbly performed as they are – some wonderful harmonies there – lack attack and power. As a result I found it surprisingly unmoving and sedate.
Maybe I was expecting more big fish action; a 19th century Jaws this is not. It is, however, an intelligent and careful dramatisation that links closely to Melville’s original, with some excellent performances and staging. There’s a lot to appreciate here, just don’t expect much in the way of thrills. After Moby Dick swims on from these shores, the tour continues to Perth, Wilton’s Music Hall, Ipswich, Northern Stage in Newcastle, the Isles of Scilly (a most appropriate and innovative booking), Blackpool, York, Malvern and ending in Oxford mid-June.
Production photos by Manuel Harlan
Three-sy Does It!
