Otherland is a remarkable, poignant, and emotionally all-encompassing play that explores love, the beautiful and terrifying nature of change, and the ‘many myriads’ of womanhood. In her ‘Note from the Author’, Chris Bush states that she aimed to ‘write with a vulnerability’ she never had before, but nonetheless create a ‘theatrically expansive… rollercoaster’. Well, if that was the goal, she’s passed with flying colours.
Jo and Harry, despite a picture-perfect wedding and 5 years or marriage, are breaking up. Harry, assigned male at birth, needs to become her true self and Jo, though entirely supportive of Harry’s decision, needs space to figure out what she wants. She wants to be ‘unplugged’, for a while at least. We’re offered a window into their lives and the journeys they go on, both literally and metaphorically, as they navigate the complexities of their relationships to themselves, their friends and family, and the world around them. That’s all I’m going to say about the plot, as the best way to experience Otherland is to go in blind and strap yourself in for the ride. You won’t be disappointed.
Ann Yee’s direction is electric, making use of a talented Chorus that seamlessly weave between rapid-fire but realistic dialogue and surrealist song and dance. Yee moves the action around the stage like a chess-master, ensuring our focus is never diluted or disrupted. When the pace is dropped, and we’re left with an honest and quiet moment between two people, it’s all the more resonant as a result. Perhaps that’s the most impressive aspect of Bush’s script and Yee’s direction; the many contrasting facets of the play all work together to create a consistent tone. We can go from surrealist song, to a choreographed dance number, to a naturalistic conversation between Jo and Harry, and it all blends perfectly.
The cast are spectacular. Jade Anouka’s Jo is charismatic, outgoing and endlessly relatable. In contrast, Fizz Sinclair’s Harry is more reserved but no less real. Sinclair captures the nuances of Harry’s journey beautifully and, at times, devastatingly. The chemistry between the two is palpable and refreshing. Jo and Harry aren’t glamourised romantic figures, they’re real people trying to accept and understand themselves and each other. Amanda Wilkin’s Gabby and Jackie Clune’s Elaine (and Hera) are similarly splendid. Again, I’m not going to give anything away, but the performers all do a wonderful job of encompassing every aspect of their characters, especially as we move into a surprising but effective second act. This second act also allows Fly Davis, Milla Clarke, Anna Watson and Pete Malkin to experiment and play with set, costume, lighting, and sound respectively, creating contrasting, visceral and atmospheric worlds.
Otherland is both crushing and up-lifting, heartfelt and hilarious. It’s a touching examination of what it is to be a woman, and I feel privileged I got to be taken along for the journey.
Otherland is running at the Almeida Theatre until the 15th of March.
Reviewer: Ben Pearson
Reviewed: 21st February 2025
North West End UK Rating:
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