Today my Arts Editor and I attended Transatlantic Love Affair’s production of The Ballad of the Pale Fisherman, a play that originates with Artistic Director and performer Isabel Nelson and was TLA’s very first production in 2010.
This production features TLA’s signature technical approaches: a complete lack of stage scenery and props; the use of a physical approach to the production in which the ensemble itself, onstage, provides special audio and visual cues to the audience, such as the wind whistling over the water (although this time augmented with an accordion’s wheeze), and the ensemble swiftly, but not frantically, switch from one character to a tree to another character; and a tendency to have two, or even three, centers of activity simultaneously on the stage, leaving it to the audience to deduce which may be important and which may not. A challenge to the audience is not an improper choice when working with subtle material, as it may emphasize, in an ulterior manner, the very problems faced by the characters: a multitude of choices, but which are correct, and which are not?
Once we move beyond the technical choices of the production, however, the less certain we were of the result. Briefly, this tale has to do with selkies, mythological creatures that are seals when in the sea, but able to shed their skin and become humans on the land. In this version, a young man, discouraged at his limited choice of maidens on their island, finds a seal in his fishnet, who sheds her skin and then loses it overboard. With no other choice, she accompanies the young man back to the island, gradually falls in love with him and marries, and becomes pregnant. At this juncture, her skin is recovered.
It ruins nothing to admit her now-husband conceals her skin, rather than returning it, and that begins the moral question of the story, with their shared happiness soon to be the line. But what of her husband? He is written and portrayed as being, perhaps, a trifle simple; not terribly so, but lacking both cleverness and self-awareness. Because this lead character seems to be little more than a good-hearted doofus who is stumbling through life, rather than trying to live it properly, we lose a little bit of precious focus on the moral question which should enliven the piece, not to mention the empathy that might have developed with a more self-aware character.
Other irrelevant questions nevertheless come to mind to confuse the issue. What is the significance of a “pale fisherman”? Another character, possibly in the throes of dementa, betrays physical symptoms of being a selkie, and yet the point is not developed really any further. I appreciate that a subtle touch may be appropriate, but I have to wonder if a little more development could have brought more focus to the various questions that must associate with the entire moral tone of the play.
Which is not to say the play is a wreck. The three old ladies are a delight, and the old retired fisherman who provides the occasional narrative and wheezing accordion brings a good touch, while the selkie gains an unnatural touch in this portrayal. But the men are just stereotypical young men: looking for a girl. The last time they crossed the stage may be the last time I’ll think of them, because … they were just men.
And perhaps that’s what I found dissatisfying about this play. Some of the characters were people, and some were just there to provide a body. Some have lives in the world, and some only exist for the plot. It feels like a production, or play, that is only half finished.
But don’t let that discourage you from attending this, or any other production by TLA. The physical aspects of their effort are fascinating, and we’ve greatly enjoyed other productions, such as Red Resurrected and 105 Proof. The link to their web site is above – go see their efforts!
