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An adaptation of the classic story by Herman Melville. As in the book, the story is told from the point of view of Ishmael, an inexperienced sailor seeking work on a whaling ship. Rebuffed at first, he then teams up with his new friend Queequeg, a tatooed native prince with a powerful throwing arm and deadly aim with a harpoon. Together, they are signed aboard the Pequod, captained by the reclusive Captain Ahab.
Life at sea is harsh, but they soon find their places amongst the disparate members of the crew. Enjoying good fortunes at first, the holds begin to fill with blubber and whale oil. But the captain is becoming inceasingly obsessed with destroying his nemesis, the white whale 'Moby Dick' which was responsible for the loss of his leg. First mate Starbuck begs his captain to turn for home to cash in on their rich haul but he will not listen, turning instead toward the last sighting of the white whale.
Neither storm nor argument will turn the captain from his chosen mission, and his descent into madness has disastrous consequences for ship and crew.
To present any seafaring adventure on a theatre stage on a limited budget is an ambitious undertaking, relying heavily on the imagination of the audience to fill in for the pitching of the deck, the circling seagulls overhead and the everpresent sea spray. That this production worked as well as it did was a great testament to the writer and cast. In only its third full performance, having enjoyed its world premiere at the same theatre two days earlier, this already looks a polished piece.
The original authors knowledge of his subject (Melville served aboard several whalers) is also fully brought which gives the peice an educational slant. In the opening of the second act the actors line up across the front of the stage to give us a detailed account of how a captured whale was butchered. An awe inspiring account, not least the imagery of a man standing atop the floating carcass fending off the sharks!
The intricate set, which doubled as the quayside in Nantucket and the deck of the Pequod, was quite impressive and obviously sturdily constructed to allow much climbing up down from the cast. Background music, coloured lighting, and a constant thin fog hanging over the stage area added greatly to the atmosphere (although a battery of bright lights from the back of the stage shining straight into the face of the audience in the lightning sequences were almost blinding). Occasional sailors working songs and dirges as well as some rough seamans humour rounded off the effect.
Owen Aaronovitch as Ahab, was the best known face having played the fake airline pilot and con-man Jon Lindsay on Coronation Street. His rendition of Ahab is a powerful yet haunted figure, but not so dominating as the Gregory Peck film version. Ben Abell gave a good account as Ishmael, playing the part with a slight American accent and a feverish intensity. Mark Ramsay was ideally cast as the painted Queequeg as was young actor Daniel Anthony in the role of Pip, the Pequod's young cabin who comes of age on the journey. He also showed a fine singing voice rendering a couple of solo laments. Luis Miguel Echagaray played Tashtego, the second harpooner, whilst Michael Onslow was excellent as the sardonic Stubb. Special mention is due to Johnathan Oliver as Starbuck, the Quaker First Mate struggling with his conscience to obey his captain and protect the interests of the crew, even when these are so opposed. Last but by no means least, Mike Burnside and Tony Taylor played the Pequod's owners, Captains Bildad and Peleg as well as eaxh tking on several other characters.
An intense and powerful drama. If you find the book a difficult read this is an excellent alternative. Not perhaps the type of material that West End hits are made of, but certainly better than average fare for provincial theatres.