Martini Rating: 🍸🍸🍸🍸
Omelette is a bizarre, yet absolutely charming love story full of wit and intelligence.
Set in a climate-conscious London, the piece follows Mia and Mo, who fall hard and fast for each other, after unexpectedly meeting in a shared Uber one night. The couple consolidate their affection for each other and hit the big milestones, whilst doing their bit for the planet. They attend all the marches, move in together, turn off the heating, stay indoors and even in a surreal twist of events, eat their goldfish, (waste not, want not). But as they begin to buckle under the pressure of neutralising their carbon footprint and the climate continues to collapse, their passionate love affair bitterly crumbles around them, much like the planet. Anna Spearpoint thus, writes a beautifully thematic love story, Mia and Mo’s all in, cult-like approach to becoming, in totality, eco-friendly, fantastically mirrors their intensely tempestuous relationship that seemingly forms over night. A wonderful examination of the prevalent extremism demonstrated by some climate activists, using the absurdity of the couple to subtly suggest that we don’t all have to be perfect all of the time to make a difference. Spearpoint phenomenally using the rise and fall of the relationship to highlight a hope that we can undo things, a hope that she breaks just as the relationship falls apart, demonstrating how futile individual efforts can seem, as well as the way in which this pressure to be perfect can affect everything, from relationships to how we act regarding climate change. The piece ultimately becoming a rallying cry to work together, to not necessarily be perfect, but to offset as much as we can, by planting trees for instance. Spearpoint’s writing is therefore hugely relevant and engaging, her comedic and emotional intelligence being wonderfully flexed here.
Tash Hyman’s direction is likewise, severely dexterous and does much to stage climate anxiety and the intensity of the aforementioned marches that the pair pledge to attend. Her decisions, mixed with Alice Boyd’s intricate Sound Design and Rajiv Pattani’s sharp, yet aesthetically stunning Lighting create an intense, fast-paced piece with swift and cutting scene changes that bring a certain riotous sense of anticipation and building pressure. Perfect for the climate anxiety the piece intends to convey. Whilst the circular nature of Seren Noel’s design, the audience sitting on all sides, not only hones in on this built-up, pressurised atmosphere, but cleverly engenders this sense of the couple going no where. Both figuratively and literally. As they take the decision to stay indoors in order to avoid doing anything to harm the environment, they remain on a circular disc centre stage, trapped. Their eco-efforts are the same, despite seemingly doing more, they are getting no where in terms of the bigger picture. Finally, a spiral at the centre of the disc they reside on, is revealed and this enacts the centre of their fixation on absurdly going to extremes to do everything they possibly can and therefore disregarding all rationality. Making Omelette a succinctly layered and intelligible piece. The couple’s movement around the disc combined with conversation, providing an exciting discourse on the Climate Action strikes, veganism, privilege when it comes to being able to afford to not work and go on the marches, love and more. Whilst Anna Spearpoint and Kwami Odoom’s performances are simply brilliant. They are both equally as vibrant, demonstrating themselves to be comedically smart and emotive actors. Their performances are a joy to watch.
Long Distance Theatre’s Omelette runs at VAULT festival until 23rd February, click here to book now.
Mia: Anna Spearpoint
Mo: Kwami Odoom
Writer: Anna Spearpoint
Director: Tash Hyman
Dramaturg: Tommo Fowler
Designer: Seren Noel
Sound Designer: Alice Boyd
Lighting Designer: Rajiv Pattani
Producer: Tom Bevan