Moby Dick – York Theatre Royal

Writer: Herman Melville

Adapter: Sebastian Armesto

Director: Jesse Jones

Moby Dickmust have seemed an admirable choice for adaptation: the epic sweep of the novel, the ensemble ethos for the cast, the opportunities for physical theatre and for on-stage music and song. Unfortunately Sebastian Armesto’s adaptation for simple8 hits its mark erratically. There are moments of high drama, like the harpooning of a whale, effectively presented with the aid of a few planks of wood; Jonathan Charles gives the crew plenty of chances to bawl out rumbustious shanties and hymns and supplies an evocative instrumental backing to key moments; Captain Ahab’s first appearance, preceded by the sound effect of him scraping and tapping along with his false leg, contains all the menace you could wish for.

But these are not really enough to grip the attention throughout. Concentrating on the bare bones of the narrative, the adaptation leaves out some of the more memorable moments, Father Mapple’s sermon, for example, and reduces sadly the number of encounters with other ships. More predictably the philosophical passages are not much in evidence and Captain Ahab’s preoccupation with the white whale never really emerges as the crazed, near-religious obsession it is. Rather surprisingly Ishmael’s detailed description of the various types of whale find their place.

Jesse Jones’ production looks good in Kate Bunce’s set, dominated by a wide set of four steps and tubular scaffolding and planks, with a ladder reaching to the crow’s nest, the scaffolding and planks to be manoeuvred into place by the largish ensemble cast. Unfortunately the individual characteristics of the cast generally do not emerge strongly, too much dialogue underpowered or shouted not helping matters.

One notable exception is Mark Arends’ excellent Ishmael. Emerging with a certain smugness as the narrator at the outset, he is coolly set on his determination to join a whaling crew. Thereafter his reactions – horror at the sordid reality of whale slaughter, for instance – serve as a signpost of “civilisation”‘s response. Guy Rhys’ opening scene as Ahab (late in the first half, much prepared for, like Tartuffe) lifts the whole production with his impressive presence and he always registers strongly. Hannah Emanuel has the manner, if not the voice, for Starbuck and Tom Swale is a sympathetic Queequeg.

Much of the action impresses with its ingenuity rather than exciting the audience and we are left with an effective introduction to the story of Moby Dickthat neither delves into its philosophical background nor (as an alternative) rollicks along as an adventurous seafaring yarn.

Runs until 8th June 2024, before continuing on tour.