Otherland by Chris Bush at the Almeida Theatre. Fizz Sinclair and Jade Anouka. Credit Marc BrennerHarry (Fizz Sinclair) has been in a relationship with Jo (Jade Anouka) for a decade, but secretly he has always felt he would more naturally be female. Jo has previously been sexual with women, but Harry’s belief that they could simply remain together and assume the identity of a lesbian couple proves entirely misguided. Simply put, Jo isn’t just attracted to ALL women. What starts with a gathering to celebrate their union witnessed by exuberant friends, soon morphs into their separation and the inevitable unpleasantness over CDs. It’s at their separation when Harry embarks on the lonely and isolating transition process and Jo, in search of herself, falls in love with a boisterously engaging woman Gabby (Amanda Wilkin) whom she meets as they tackle the Inca Trail.
Perhaps more than with any other contentious and impassioned subject, the debate around gender identity, trans rights, how they impact women’s rights and a host of other contiguous topics have occupied modern society’s thoughts in recent times. Most consider the matter something of a minefield, not only because it is a complex issue, but because there are hugely entrenched positions and multiple, nuanced considerations, all of which have potential to upset someone or everybody.
Once the basic outline was covered in the first half, I returned from a head-clearing jaunt around the drizzly environs of Almeida’s Islington, the lights dimmed and an altogether disconcerting spectacle awaited. Firstly the set had acquired a shallow sloshing pool in which Harry (still in the same costume) was caught in nets and near to death, but we soon realise this is a very different Harry, from an altogether different era. A mermaid by any other name, the othered creature is housed, studied and paraded before curious and enquiring minds, sometime in the Georgian era, by a scientist (Serena Manteghi who made the very most of her varied array of supporting characters as one of the chorus). Whilst the transportation to another time and place took a while to embed, it served to encourage consideration of anyone who has ever found themselves on the periphery of societal norms.
Jo and Gabby’s story also continues, but this time into some sort of parallel universe future where Gabby’s desire to have a baby is thwarted by her own body and Jo (in not wanting to lose the love of her life to resentment) offers to conceive for her. The second half has Jo as some kind of former sex worker automaton with a futuristic chrome belly, now reprogrammed to carry Gabby’s baby to term. It’s a weirdly disconcerting turn of events with Gabby’s hormonal histrionics in marked contrast to Jo’s cold and robotic responses. Laura Hanna delivers a neatly assuaging in vitro specialist during this section among other roles as a member of the chorus. Another notable performance in a general strong company was delivered by Jackie Clune who is both Harry’s well meaning mother who understandably doesn’t quite get the whole transitioning process - neatly summed-up in her constant clumsy suggestion that Harry use his old passport, put on a suit and come as you are, (rather than wait for the new documents as Harri). She also commands the stage as Hera, a village elder determined to keep the sea creature from joining the townsfolk, through talk of danger. Harry’s mermaid occupies a cave for this section and in a nice reference to women transitioning to men, recalls waving and wishing well, those who kick off their shoes, running headlong from the land towards the sea. It’s a particularly poignant moment, subtly made.
The final segment sees Jo and Gabby emotionally reunited as their baby is born and Jo sitting talking with Harri about how they have both changed on their respective journeys. Also appearing in the production and in fine voice are Beth Hinton-Lever and Danielle Fiamanya as members of the multi-role playing chorus.
Chris Bush’ play, here inventively directed by Ann Yee on an effective set by Fly Davis, won’t be to everyone’s taste, but it is unquestionably an adventurous piece, beautifully realised and I wholly recommend it.
