The cast of Ear to the Edge of Time. Photo via Seymour Centre.
There are not many plays that combine poetry and astrophysics, but the world premiere of Alana Valentine’s new play as directed by Nadia Tass blends both wonderfully.
Valentine’s play examines humanity’s relationship and understanding of the scholarship of factual and creative disciplines, but also raises the issues of gender equality; ethics in academe; the scientific community; intellectual copyright; science vs poetry, and the role of the team vs the individuals.
The disparity between the number of men and women who have been awarded the Nobel Prize for physics is highlighted – the play was inspired by the story of Professor Jocelyn Bell-Burnell, who discovered the first pulsar but whose male supervisor was awarded the Nobel prize for it.
The play starts as Professor Kell-Cantrel (Belinda Giblin) has commissioned several poets to write a book of verse with science as the common theme. Impassioned poet Daniel (Tim Walter) heads to Parkes having organised to meet Martina (Gabrielle Scawthorn), hoping that their meeting might provide inspiration for his poems.
At first Martina is hesitant and rather sniffy but she makes a hidden delicate discovery so amazing she has to share it with someone even before confirming the data and confides in Daniel. The plot then shifts to the ruthlessness of academe and the issues of ethics, gender and teamwork because Martina’s boss, Steven (Christopher Stollery) sneakily hijacks her data and research.
Our poet Daniel also strives for beauty, but his niche is the crafting of the beauty of language, metaphor and aesthetics and meaning, and he is also an amateur scientist. The play opens with a stirring monologue by Daniel and he has several inspirational, lyrical passages throughout the show. The title of the show is from the opening poem, in which he wants ‘to put my ear/to the edge of time’. Darkly handsome Walter delivers the verse superbly, and is most believable as a passionate young man who seems to have a flair for irritating people. He also does an oration on sexual equality and badgering Martina to strive to stand up for herself. Why shouldn’t Martina insist upon recognition for her work? Isn’t this an example of gender discrimination?
The cast of Ear to the Edge of Time. Photo via Seymour Centre.
As Martina, Gabrielle Scawthorn gives a sensational, empathetic, finely nuanced performance, warm and vibrant. Towards the start of the play she has an infectiously enthusiastic speech explaining the science she is working on to Daniel (and the audience). When she is devastated by Steven’s betrayal she curls into herself. After that her body language is far more rigidly controlled. She tries to convince herself and everyone else that Steven is her boss, and that complaining would be detrimental to her career.
Belinda Giblin is marvellous as leading, somewhat intimidating veteran physicist Kell-Cantrell, fiery and full of bristling intellect and wearing a severely cut white suit. She mentors Martina in a way and encourages female solidarity in the shark-like world of academe and science. She is also is tremendous as Rhonda, a rather unstylish motelier.
As tonsured, bespectacled Prof Steven Sarvas,Christopher Stollery gives a magnificent performance. Arrogant, ruthless and self-centred, he is pompous and an example of old fashioned academic male ego and sexism. His performance is full of caustic wit blended with splendid timing and subtle understatement. He also plays two minor roles one of which is a rather carping, frantic bookseller.
A totally engrossing play superbly written and performed, the standing ovation at the end was richly deserved.
4 ½ stars ★★★★☆
Ear to the Edge of Time
by Alana Valentine
Playwright Alana Valentine
Director Nadia Tass
Production Manager Ryan Devlin
Set Designer Shaun Gurton
Lighting Designer David Parker
Sound/Music Design Dan Nixon
Stage Manager Ruth Hollows
Assistant Stage Manager Lauren Holmes
Reginald Theatre, Seymour Centre
