The Selkie Project (Liminal Theatre and Performance), at Theatre Work’s Explosives Factory - 70 minutes

First up, a confession. I am not sure I really understood The Selkie Project.

The whole thing felt experimental and somewhat repetitive, even though it only ran for one hour and 10 minutes.

It is based around an ancient myth, whereby a seal-like creature removes her skin to take on human form and taste the pleasures of the earthly world for a night.

Photos by Renan Goksin

But when a man steals her skin, she is imprisoned on land, unable to make her way back to the ocean.

In fact, selkies are mythical creatures known for their ability to shape shift (they can go back and forth, so long as they can find and don their skin to return to the water).

As I just mentioned, that is the kicker in Liminal Theatre and Performance’s conceit – the access to swim back home is denied.

A fair chunk of the first half hour of the play, written and performed by Georgia Durham, is devoted to the selkie’s discomfort at what she sees in the human world.

The odious smell of humans, the noise, the feeling of being smothered and emasculated are all apparent.

And then she falls pregnant.

Among the more humorous moments, selkie goes to the supermarket and apologises for not having money because she is a seal.

All the while, she continues to pine for the freedom of the sea.

Frequently, her narrative is accompanied by evocative imagery (the video artist responsible is Ivanka Sokol).

That is beamed onto the whitened back wall of the theatre, as well as onto large white sheets that form additional canvasses, left and right.

Then, 30 minutes in, The Selkie Project undergoes a quantum shift, as the protagonist becomes selkie’s daughter, who pays out big time on her mother.

She can’t understand why her mum up and left her at the tender age of 13.

The daughter remains disillusioned and angry.

She has taken to the bottle and works through her disdain in song, accompanied by guitarist Stella Delmenico.

That 40-minute bracket went on far beyond acceptances, but I also thought the first 30 minutes dragged.

It wasn’t Durham’s acting that was the issue, for she got into character well, including transitioning between scenes.

Rather, it was the writing. I found that confusing, esoteric and verbose.

That could have and should have been addressed by the dramaturgs. Either find more to say and build that into the play, or cut the running time back.

I wanted to be taken on a narrative journey, but instead The Selkie Project was ostensibly conceptual in nature.

Further, tighter direction by Draf Draffin would have helped.

 Selkie may have channelled disquiet and her daughter rage, but I was the one left dissatisfied.

The Selkie Project is on at Theatre Works’ Explosives Factory until 21st June, 2025.