Albatross

Review by Andrea Powell

Sublime. Thoroughly entertaining. A lecture on climate change this is not.

Billed as ‘what one generation owes another’, I knew Hubby, who will always dutifully accompany me to the theatre, may have thought this one was heavy-on-duty evening. How wrong could he be! As the final applause rang out, we turned to each other – WOW that was brilliant. I could see by the nod and smile he had enjoyed this every bit as much me.

Albatross kicks off in the middle of the night, where Alice (Caroline Rippin) has just sneaked back to her family home after months studying melting ice caps in Antarctica. She is as cold as the ice caps she just left, detached; in stark contrast to her mum, Eve (Agnes Lillis), who is immediately warm and welcoming – well, once she got over the initial embarrassment of Alice discovering her with new(ish) boyfriend on the kitchen table at 1.30am!

While Alice has been away, life has moved on without her: the local area suffered devastating floods, the family dealt with a death, and her mother, Eve, started a new relationship. As the two women face off in the kitchen, tension mounts and it becomes clear there is more to Alice’s visit than first thought.

Having been privileged to be one of those characters despised by Alice – “the cruise brigade” – found myself definitely “more Eve”. I too had been curious about Antarctica, and yes, I did love penguins. And yes, it was totally amazing. I am not suggesting the solution to understanding is giving everyone a trip to see the icebergs, but having travelled extensively, I have always found far more of an affinity and understanding of what I see on the TV following my trip, as opposed to ‘being lectured to’ by those who are privileged enough to visit.

As the opening film projects onto the stage, gigantic Antarctic ice caps floated across the screen. Transported back for a second I once again remembered the solitude, serenity, unbelievable beauty. A pure, perfect beauty. In complete contrast to our daily overcrowded, chaotic, imperfect reality.

Speaking of which, the lights suddenly clicked, and we were back in that stark reality. Not just a kitchen, but one ingeniously depicted with the furniture on iceberg-shaped lino – one of many metaphors running throughout the play.

The reason – that recent devastating local flood. But how does heavy rain causing a flood in the house relate back to that film of a massive ice sheet breaking off into the sea? One of many clever examples of the detachment of climate change versus daily decisions. The immediate need: feed the family, pay the bills. Climate change – yeah, that’s important but…..

Eve was very much of the opinion a changing climate was something to put up with - just clean the mess and deal with it.

In contrast, Alice was aghast. To her, here was climate change depicted perfectly in her own kitchen, but still her mum would not see.

And all this before we even touch the other major theme of the piece.

Despite only three characters, this felt the perfect size cast. Not only was it easy to relate to at least one of them, but it allowed the pertinent issues and moral dilemmas raised to be explored in some depth. What does each generation owe the next? Does the greater good outweigh personal, even maternal obligations? Does society really now judge women and men equally?

As the story developed it became clearer that Alice’s stony neutrality was not because she did not care, but precisely because she did care. Eve’s contrasting open-armed affection could not understand why asking after her five-year-old daughter had not been THE first question upon her return.

Only as we followed the narrative did it become clear: the guilt, the coping mechanism to deal with that, and what she felt she had given up for what she believed in.

But what about Eve? What had she given up too? Was she simply taken for granted? Was Alice not the lucky one?

And that really is the genius of this production.

Two huge thought-provoking strands – climate change and modern-day relationships – weaving their way effortlessly through each other, interspersed with hilarious, sharp and witty comic moments (to break the ice…?), but also poignant, tender and yes, dare I say, educational elements too!

The two lead actors delivered gripping, authentic performances. Alice is brilliantly ice-cold, while Eve is the effervescent, immediately lovable mum holding everything together. This fiery mother-daughter chemistry kept me hooked throughout.

As for how this play came about….

From chatting in the post-show talk, it was clear the writer, Martha Loader, had been keen to write a play not only about the issue of climate change, but also one which examined the personal costs of career ambition for women today.

Her inspiration came after reading an article about a (specifically) female climate scientist who happened to be living in Wellington, New Zealand, just ten minutes from her own house at the time. This lady herself had just returned from a long stint as a researcher in Antarctica and subsequently helped Martha with background for the play.

For Martha then, how do you explain climate change so it will actually mean something? It needed to be engaging not boring; easy to represent, not degree-standard difficult. After all, this is an evening out not a lecture.

Fear not - all is executed to perfection.

It is totally engaging.

I will not spoil the ‘easy to represent’ bit other than to say: look out for that tub of ice cream.

And finally, do not be fooled. This is not just one for the eco-warriors or feminists. Believe me, hubby is neither! A funny, compelling evening that kept me glued to my seat throughout. Fabulous!

Albatross was at New Wolsey in Ipswich.

Also showing at Theatre Royal, Bury St Edmunds on 22 May 2026. Click HERE for details.

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