The Harbour

Limbik are a Suffolk-based theatre collective that “explores human stories set in epic environments”, presenting their work The Harbour, a retelling of the selkie myth. Retellings are successful if the viewer forgets that they are aware of how it will end. This retelling falls into predictability, it is more a matter of when the story will climax and resolve then being an interesting insight into the relationship between a human male and a female seal-become-woman. It is saved by the jealous mother-in-law character, played with incredible physicality, tenderness and humour by Will Pinchin.

Unfortunately his role as the male seal is nowhere near as skilled as this role, though the role of the female seal/woman played by Sarah Johnson is more convincing. Contorted shoulders and wrists and croaking vocals contrast effectively with the awkward, staunchness of the human male and the hunched over, embittered mother-in-law. The over-dramatic facials of the seals settle down eventually, unlike the grating and seemingly unnecessary American accents.

The real interest lies in the physical theatre and the use of props to create an ever-changing set. White fisherman’s gumboots are flapped and manipulated to create an intriguing seagull dance; nautical crates become a table, a bath for the baby and a production line for factory fish-gutting. The myriad of ways that the son of the couple is simulated is very clever – the mini gumboots a favourite.

Accompanied by haunting cello music and mystical wailing by Sarah Moody, she is visible as a performer: a restless bow and funny faces distract during emotive moments.