Shay Mace
Content Warnings: Discussion of Domestic Abuse & Violence against Women and Animals
On the remote Faroese isle of Kalsoy, an enchanted farmer wanders the coast late at night, only to see mythical creatures he thought of only as legends dancing in the moonlight. Captivated, he decides to take one for himself, and sets forth on a dark and unrelenting path that will change the course of his life, and the island community, forever. Hangmore’s striking and fervent exploration of gender, mythology, coercive control and revenge is a powerful debut from this emerging company, who are donating 50% of proceeds to Harbour, a specialist domestic abuse charity supporting individuals and families across the North East of England.
Infused with well-researched folklore covering the Selkies, half-women half-seal creatures, Writer-Director Kate Moore’s script could well be described as a femme-revenge story without the femme voice immediately present on stage. Cast any initial fear of this conceit aside, however, as the complexity of this setup soon becomes apparent, and allows for a deep-sought nuance and rounded depiction of the circumstances, culture, and effects of male violence.
As the solitude of lonely farmer Sebiorn spurs on his romantic visions of a life and family for himself, he sees little of the brutality he inflicts upon his new Selkie bride, and this slow-burning reveal provides fascinating insight into the mentalities of both characters. Sebiorn is not to be pitied, but the roots of his barbarity are unpacked with pathos and deft storytelling.
The show is performed in its entirety by Alexander Hannam, with unflinching candour, and he well manages to paint a vivid picture of this isolated corner of the world in tandem with the central plot. As we move across decades, Sebiorn’s suppressed shame and guilt unravels the ‘perfect’ life he has aimed to build for himself, and we see its savage consequences in a night where Sebiorn seeks revenge, when only his Selkie bride has actually earnt it. Moore directs Hannam’s focus tightly, with no time wasted on stage to create a multi-layered story, with evocative allegories to how male violence has persisted across centuries, and across the world.
Parts of the script fall into repetition and could be handled with more impactful segue, especially as for so much of the script we only hear Sebiorn’s voice and side of the story. There are moments where Kópakonan falls into the trap of telling rather than showing – ‘and next, this happened’ being the most common way that scenes blur into one another. With a little retooling, there may be more imaginative ways for Hangmore’s distinctive voice to take us from place-to-place, and time-to-time.
There is impressive use of light and sound to cornice the world that Hannam so graphically describes, though sound levels at some point may need to be adjusted to ensure his voice can be heard across the vast space of Durham’s Gala Theatre Studio. The minimal set – an ominous large chest and clothes rail behind it – is used sparingly and as such impactfully, providing moments of physicality which Hannam takes full advantage of. In the closing moments, the sheer terror Sebiorn experiences as his life falls apart in front of his eyes is utterly stirring and fantastically emotive, and all of these elements seal together to create a piece that is equal parts committed to its mythic origins as it is to its drama.
A demonstrative debut from Hangmore, who are sure to produce more remarkable hands-on work in the future. Lucid, salient, heart-breaking and gut-wrenching, Kópakonan is a truly nascent and nuanced piece of parable folklore theatre.
Recommended Drink: Grab yourself a pint of thick, hearty øl.
You can catch Kópakonan one last time at Durham Fringe, today July 30th at Studio, Gala Theatre from 7:30pm (50mins). Tickets are available through the Durham Fringe Online Box Office.
Hangmore are donating 50% of proceeds from this run to Harbour, a specialist domestic abuse charity supporting individuals and families across the North East of England. Find out more and access their resources here.
Isabella Pettite
