Review: THE URMETAZOAN at Hampstead Theatre

Initially, it is unclear why Alice (the ever watchable Dorothea Myer-Bennett) finds herself staring across the living room of her Florida apartment at her younger sister Abigail (Meghan Treadway) who has arrived clutching a suitcase. Gradually over a series of vignettes we observe them surrounded by boxes, as they sift through items of clothing, debating which pieces from their past to keep and which to discard. It’s an instantly familiar interaction, yet tinged with a gentle hostility and frosty cautiousness.

Alex Rugman’s play gradually reveals itself to be about two connected yet fundamentally different individuals, and their wildly alternative approaches to life. In a world of ever increasing chaos and unpredictability, Alice has doubled-down on her scientific research. In recent years she has won the Nobel prize for Medicine(!) through her work to identify light reactive DNA which is present in both plants and animals. The mutual antecedent gives the play its intellectually superior (yet misplaced) title. Abigail seems more of a loose cannon and free spirit — popular, yet occasionally mocking and envious of her older sister’s dry intensity. In one notable scene, a conversation becomes an impassioned lecture on the Fermi (Where is everybody?) Paradox and the possible reasons why despite the sheer scale of the cosmos, it has yet to reveal to us any concrete evidence of intelligent life elsewhere. We feel the writer’s determination to bring this fascinating nugget to a wider audience like an excited child explaining what they learned in science class that afternoon.

It transpires that Alice has signed-up to be part of a Mars mission to establish a biodome base. Over the weeks in the run-up to launch, the sisters have a chance to reassess their childhood, discuss long-avoided subjects and mend bridges before their enforced and permanent separation.

Thrown into the mix to ruffle feathers is a contrived catalytic third character Will (Ben Allen) who has gracefully accepted Alice’s decision to leave planet Earth and then spends an evening alone with Abigail where they smoke weed, discuss their feelings toward Alice and end-up succumbing to an urge to jump in the sack together. Unfortunately this happens at the very moment Alice is having second thoughts and is ready to give up her place on the mission. Ultimately the betrayal sets-up the final scene in which the sisters, positioned either side of a clear dividing screen in director Anna Ledwich’s production, affirm their love for one another and part company forever.

As a broader commentary on the divisions between those who see Earth as the answer and determine that we should protect her at all costs, and those who think the planet will inevitably become uninhabitable and that we must seek alternatives if the species is to survive, the play simplifies but fails to conclude a meaningful way forward.

The quirkily written characters and their delivery by a near perfect trio of actors, proves the play’s ultimate strength. Less convincing is the outlandish scenario which requires more substantive grounding. The nonchalant piecing together of weighty scientific tidbits never fully coalesces into a more substantial whole. Consequently, despite the accomplished performances and sensitive direction, Rugman’s effort feels akin to a poor man’s Stoppard. There is merit and considerable potential but facts and characters requires far greater integration to fully convince beyond a novice’s level. I look forward to the play’s further development and fine-tuning.

The Urmetazoan Tickets