Review: Otherland (Almeida Theatre)

Review by Daz Gale

⭐️⭐️⭐️⭐️

Anyone who was lucky enough to see the incredible Standing At The Sky’s Edge at any of its runs over the past few years will know what a gifted writer Chris Bush is. For her next project, she has returned to the Almeida (after her previous time here was closed after one day due to Covid) to bring us Otherland, a play a decade in the making. With themes that feel even perhaps more pertinent now than ever before, would this continue her streak of sensational writing?

Otherland tells the story of couple Jo and Harry. Kicking off with their wedding, we are immediately thrown into the future to their break-up. Rather than look at them as a couple, we follow the pair as they embark on their own separate journeys of self-discovery. Jo wants to unplug from everything and has set values and plans she will never compromise on… until she meets a new partner, that is. Meanwhile, Harry is continuing her journey as a trans woman in a world that seems to be getting increasingly hostile to trans people. As she deals with differing attitudes and resistance to accept her as she is, the questions are also raised of why anyone would choose to be a woman and how people like to define exactly what a woman is?

With these themes, Otherland is full of riches as it peels back the layers with raw honesty. A key moment where Harry has to deal with the dangers of being a woman proves tense, bringing key themes of the play crashing together. Otherland also offers a rather different narrative structure with act one slowly building the pace in an intimate exploration of both the main characters, and Jo’s new partner, Gabby, to a lesser extent. Returning from the interval, we are suddenly transported into a whole new world where reality has paved way to fantasy as a rather unique and interesting way to explore how Jo and Harry are both feeling in the transitions to their life are played out. Almost feeling like two separate plays, the payoff is more than worth it, making it all make sense in the long run and giving an inspiring way to demonstrate their inner turmoil and how others perceive them.

The key strength here is, once again, in Chris Bush’s writing. Full of depth and nuance, she has an incredible way of finding the humanity in every situation with creative ways of articulating the inner monologues our characters here that will surely strike a chord with anyone who can relate. There is always a great deal of intelligence with Bush’s writing, and Otherland is a fine example of that. Sewing the seeds, we are allowed to get to know Jo and Harry intimately with well-rounded realisations and situations that are given the room and time to breathe, rather than attempt to throw too much in at once. This is pivotal to the play’s success, and ultimate impact. Whether you have lived experiences and can relate or not, there is a real humanity under the surface of both Jo and Harry and that is why everyone with any ounce of a heart should come out still finding a way to connect to it and feeling moved by the story.

Ann Yee’s direction brings more of a personable and intimate side to Bush’s writing, with Fly Davis’ set design leaving the Almeida’s recognisable brick wall completely unblocked with a minimalistic stage that lends itself to a surprising reveal for act two. Yee’s direction works in beautiful harmony with Bush’s writing to allow the stories of these two women to really land with an impact, both sensitively and creatively. Anna Watson’s lighting gets a moment to shine in the distinctly different act two, while the use of music throughout adds an extra layer to the story with composition and arrangement from Jennifer Whyte.

Jade Anouka gives a captivating turn as Jo, with complex characteristics all being explored, from the erratic nature of how she first deals with the break-up to the conflict she faces as she loses herself, and the ingenious way this is played out in the second act. Anouka’s acting is always impressive with a well-rounded and rich exploration of a character coming to terms with the changes in her life.

Fizz Sinclair is utterly spellbinding as Harry, beautifully demonstrating the balance of figuring out who you are while trying to deal with other people telling you are something you are not. Sinclair is wonderfully understated at times and instantly loveable in a characterisation you always find yourself rooting for and a performance that demands your attention throughout.

Though Anouka and Sinclair get the majority of stage time, they are supported by six equally amazing cast members, with a chorus including Danielle Fiamanya and Beth Hinton-Lever, the quality in performance never dips. Amanda Wilkin gets a standout role as Jo’s new partner, Gabby. Though the part isn’t written in as much depth as the main two women, it still allows the audience in to her world for brief moments of intrigue. Jackie Clune is another highlight in the character of Harry’s mum with interactions that are often uncomfortable to watch but add a great deal of understanding and empathy with Harry herself.

Otherland is another example of Chris Bush’s talents as a writer, and a beautiful testament to not just the struggle of trans women, but women in general. The equal pairing of Jo and Harry allows for two simultaneous stories with similarities and extreme differences to play out in an attempt to demonstrate the difficulties all women have to face, though some more than others. The question that keeps popping up throughout the play is whether they can ever be enough, or feel that way at least. In the case of this gorgeous and important play, it is certainly more than enough.

Otherland plays at the Almeida Theatre until 15th March. Tickets from www.almeidatheatre.co.uk

Photos by Marc Brenner