Moby Dick
Adapted and Directed by David Catlin
From the Book by Herman Melville
Repertory Theatre of St. Louis
February 9, 2024
Felipe Carrasco, Walter Owen Briggs, Kevin Aoussou, Raymond Fox, Julian Hester
Photo by Liz Lauren
Repertory Theatre of St. Louis
Moby Dick on stage might seem like a strange idea, considering that Herman Melville’s classic novel takes place largely at sea, and staging it as a play seems like a difficult undertaking. Now, the Rep has brought director/adapter David Catlin’s production to St. Louis, and it certainly is a theatrical marvel. With a poetic sensibility, dance-like movements, acrobatic feats, wondrous production values, and a first-rate, enthusiastic cast, this Moby Dick is a whale of a show, and a truly astounding production.
The story should be familiar to anyone who has read the book or seen any of the many film and television adaptations. The first line is one of the most well-known in literature, and it is used here, as well, as Ishmael (Walter Owen Briggs) introduces himself to start the story, and then carries on to narrate much of it. Ishmael is looking for adventure, so he seeks to join the crew of a whaling ship in mid-19th Century New England. He soon meets harpooneer Queequeg (Kevin Aoussou), who hails from a faraway island and is unlike anyone Ishmael has ever met. The two soon form a bond, and join the crew of the Pequod, a vessel captained by the elusive (at first) Captain Ahab (Christopher Donahue), who at first seems mysterious but soon reveals his single-minded quest for revenge on the great white whale, Moby Dick, to whom Ahab had lost his leg in a previous run-in. The crew of the ship is a mixture of characters with different background and motives, but they form a cohesive unit on board, although the growing disconnect between Ahab and the rest of the crew becomes apparent as voyage goes on, and the captain finds himself unable to think of anything but the elusive white whale, to the increasing chagrin of his crew, and especially First Mate Starbuck (Felipe Carrasco). As the ship continues across the wide, unpredictable seas and Ahab’s obsession grows deeper and more insistent, despite warnings from the crew and the Fates (Maggie Kettering, Ayana Strutz, Bethany Thomas), the Pequod moves inexorably closer to that inevitable, and devastating, final confrontation.
The structure and look of this show are remarkable and refreshing, with elements of circus acrobatics, and highly physical staging as the cast and crew adjust the elements of Courtney O’Neill’s impressive, evocative set, featuring looming whale bone-like framework, a wooden plank “ship’s deck” like central platform, and lots of ropes and rigging. There’s also fantastic work from lighting designer William C. Kirkham and composer/sound designer Rick Sims in keeping with the poetic, haunting quality of the story, as well as providing thrilling effects including volatile weather conditions and the overall evocation of a sea journey. And then there’s the truly astounding costume design by Carolyn “Sully” Ratke, whose work blends detailed realism and fantasy to stunning effect. The acrobatic choreography, by Sylvia Hernandez-Distasi, also contributes much to the unique look and feel of this production, as do the remarkable athletic abilities of the actors.
The cast is wonderful, led by Briggs in a convincing “audience surrogate” role as the eager Ishmael, who makes an ideal relatable narrator. Aoussou, as Queequeg, is also excellent, with a good deal of charisma and stage presence, and Carrasco is also a standout as the determined Starbuck. Donahue, as Ahab, is a force, portraying the character’s descent into the depths of single-minded obsession with increasingly menacing resolve with occasional glimmers of sympathy that emphasize the character’s humanity even in the midst some of his more heartless acts.
There are also strong supporting performances by Raymond Fox as Second Mate Stubb, Micah Figueroa as timid young sailor Cabaco, and Julian Hester as harpooneer Bulkington. Kettering, Strutz, and Thomas are also memorable as the Fates, who are a haunting presence throughout the story–pronouncing prophecies and commentary, as well as contributing strong vocals in some important musical moments. Many cast members play other parts, as well, in addition to their main roles, as there’s a lot of story to tell, and this show manages to tell everything with an impressive sense of poetic flow, and even though the running time is about three hours, there is never a dull moment.
This Moby Dick is like nothing I had seen before. I have seen shows with some similar elements, but this one is such a cohesive marvel of visceral emotion, powerful athletics, poetic structure, and evocative drama that it presents its own unique quality. It’s a thrilling show, with heart-pounding moments of sheer theatrical wonder, as well as some true dramatic intensity, telling the much-told tale with a fresh vibrance while also evoking its time and setting with credibility and detail. It’s a remarkable show, and I highly recommend taking the opportunity to see it while you can.
Kevin Aoussou, Christopher Donahue, Walter Owen Briggs
Photo by Liz Lauren
Repertory Theatre of St. Louis
The Repertory Theatre of St. Louis is presenting Moby Dick until February 25, 2024
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