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Selkie

Delicate blend of myth, modern relationship dynamics and dance creates a compelling theatrical experience.
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 Image: Selkie; photo by Callum Sims courtesy blueroom

The myth of the selkie inspires Finn O’Branagáin’s subtle script, sympathetically directed by Joe Lui in this work from Renegade Productions. Rónnad the Selkie emerges from the sea in her seal skin. She casts the fur aside to enjoy the sensation of the sun and the stillness of the beach, and opens her eyes to find it gone. By losing her skin she also loses her way home to her life beneath the waves and she gratefully accepts the towel offered by the kind man nearby. Séan the Human promises to help find the skin, and offers her shelter in the meantime.

Ella Hetherington and Paul Grabovac play the roles of the stranded selkie and the smitten young man. The course of their relationship is marked by a steady series of misunderstandings, conflicts, small surrenders and compromises that see Rónnad’s sense of self, independence and hopes for freedom all gradually ratcheted back and whittled away.

Their interactions are mirrored by the physical displays of Yilin Kong and Kynan Hughes, dance movements depicting unspoken threats, fears, frustration and anger. While Grabovac’s Séan plays the clown, makes plaintive requests and reassures Hetherington’s land-bound selkie, Hughes’ Séan struts, strikes triumphant poses and entraps Kong’s portrayal of Rónnad’s inner beast. Mirrored movements tie the two roles together, Kong and Hetherington synchronising provocative taunts and Grabovac matching Hughes’ measured progress, step for step.

Subtle dialogue matches Laura Boynes’ sympathetic choreography, the interplay of the relationship between the two parts being depicted as complex, dynamic combinations of words, feelings, aggressions and desires. The steady change in the relative positions within the couple drives the performance, director Lui keeps the various elements harmonised and at the right levels to maintain tension.

Lui’s lighting and sound designs are integral to the performance, creating space and carving moments for dance movements to be fully realised. The simple raised central dais is delicately carved like an oversized lino cut featuring Cherish Marrington’s intricate, eldritch designs.

Marrington’s costume design is striking: the flannel shirts of the actors delivering a timeless everyday quality. In contrast the lost seal skin is a lush confection of fur and silken sinews. Hughes is dressed in loose black garments that allow him freedom of movement while emphasising the physical menace of his presence.

Kong’s costuming keeps catching the attention. Her full body suit is splattered with the oil and blood from the removal of the seal skin, exposed ribs visible as she writhes about the space, her hands transformed into the remnants of clawed flippers, fur patches bursting from her shoulders and other details glimpsed in passing as her compulsive movements push her around the theatre.

A love story of sorts, the traditional valuing of the couple bond questioned in the face of conflict, surrender, betrayal and isolation, instead celebrating the freedom of individual identity and agency. Selkie raises questions that linger.

Selkie

Rating: 4 stars out of 5 stars
Presented by The Blue Room Theatre and Renegade Productions
Written by Finn O’Branagáin
Directed by Joe Lui
Set & Costume Design: Cherish Marrington
Choreographer: Laura Boynes
Sound & Lighting Design: Joe Lui
Performed by Paul Grabovac, Ella Hetherington, Kynan Hughes and Yilin Kong
The Blue Room Theatre, Perth Cultural Centre
12-30 April 2016

 
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Nerida Dickinson
About the Author
Nerida Dickinson is a writer with an interest in the arts. Previously based in Melbourne and Manchester, she is observing the growth of Perth's arts sector with interest.