Too Much World at Once- HOME, Manchester

Writer: Billie Collins

Director: Adam Quayle

Too Much World at Once is a coming-of-age play with a difference. It is a generation rather than an individual which reaches the tipping point of maturity. Or possibly the planet has reached the point of no return.

At fifteen Noble (Paddy Stafford) is in a permanent state of anger. Traumatised by the sister, to whom he is devoted, leaving the family home Noble is alienated from his mother, Fiona (Alexandra Mathie), and his behaviour is becoming extreme. He forms an unlikely friendship with Ellis (Ewan Grant) who flaunts his sexuality and flamboyant personality as best he can with the limited resources available. Although having reached a position of responsibility in the scientific community Noble’s sister Cleo (Evie Hargreaves) is beginning to lose faith her work for the British Antarctic Survey will make any practical difference to the environment. A crisis point is reached when Noble transforms into a bird. The strangest thing is – he is not alone, young people across the world are undergoing similar transformations.

It is not easy to find a focal point in Too Much World at Once. Logically it ought to be Noble, but the character is oddly underdeveloped. Crucially it is never explained why the relationship between Noble and Cloe is more intense than is usual between brother and sister. Noble behaves as if he has lost a lover rather than a relation and his consequential treatment of his mother is dreadful. Noble alienates his mother to the extent she begins to regard Ellis as a surrogate son.

The other characters in Too Much World at Once share Noble’s unhappiness. Fiona is trying to live out her frustrated scientific ambitions vicariously through her daughter. Cleo has lost faith in the value of her work. Ellis who strives to promote his individuality becomes unique when, ironically, he is the only member of his generation not to transform into a bird.

There is an apocalyptical tone to the script. The family house is sinking due to subsidence. The birds which Cleo is assigned to survey have abandoned their nests. The police are unable to search for the missing Noble because they are busy evacuating residents from their flooded homes. The transformation of children into birds can be taken, therefore, as symbolising a rejection by their generation of the actions which have got the planet into this mess. However, although, in the second act, Too Much World at Once becomes a full-on environmental call to arms author Billie Collins undermines her own arguments with characters who take the bleak view the damage is too great to be reversed at this point.

Director Adam Quayle sets a chaotic atmosphere appropriate for a world where norms are breaking down. The set by Katie Scott looks like it has been put together out of driftwood. Broken ceiling slats and banister rails hang down as if the roof of the house has collapsed. The rough floor has slightly different levels where the characters can stand as if in separate locations but sharing the stage and speaking at the same time. As, from time to time, the characters also slip into blank verse speaking alternating lines, the overall effect is one of confusion and disorder.

The potentially embarrassing transformation from boy to bird is handled well. Squatting in an animal pose Paddy Stafford grows web-like wings Spider-Man style under the arms of his sweatshirt.

As the title suggests Too Much World at Once risks overwhelming the audience with detail and events. Considering it is Collins’s first play it is, however, a remarkable achievement and audiences willing to go the distance will find it challenging but rewarding.

Runs until 11th March 2023 and continues touring