Chris Bush’s new play follows the diverging stories of Harry/i (Fizz Sinclair) and Jo (Jade Anouka) after their break-up, when each of them embarks upon a journey of change and self-discovery around their sexuality, womanhood and relationship with the world around them. While Harry, a trans woman, navigates the terrifying and many-obstacled journey of her transition, Jo comes to terms with relationship compromise and motherhood. Off the bat, these parallel storylines aren’t particularly fairly weighted, or remotely comparable, but give Bush’s play scope to broadly sweep over every aspect of womanhood she can reach for.

Otherland platforms the stories and experiences of trans and queer women on a renowned off-West End stage, and for that it is owed some degree of applause. But this play – perhaps catering to the more staid and conservative portion of the Islington population that make up the Almeida audience – feels like it is spoon-feeding a cis audience. Throughout the play, Harri gives comprehensive and rehearsed run-downs of the medical and legal steps of her transition in a presentation of transness that feels like an after-school educational special rather than a real woman’s story.

Telling, not showing, is a marked weakness throughout this script which, despite its passages of poetry and florid metaphors, tends towards being blunt and declarative. The ensemble cast are deployed as narrators and a singing chorus in this not-quite-musical, particularly in the first act, and the rehearsed-reading, stage direction quality of their narration holds this show back from delivering a knock-out emotional punch.

The second act, however, is a wonderfully inventive and visually exciting blend of two different types of body horror, aided in no small part by Fly Davis’ proficient design that mixes and matches futuristic sci-fi and 17th century aesthetics. For the most part, the second act dispenses with the declarative narration, making the first act feel like a protracted pre-amble to the main event. A re-write of this play that frees the mermaids and cyborgs from their relegation in the second act would be extraordinary.

All that being said, the cast of this production are brilliant without exception. The singing chorus, although a touch sentimental, win you over with their flawless vocals and Jennifer Whyte’s tight harmonies. Fizz Sinclair especially shines as Harri, carrying throughout the production an indomitable grace and poise. Amanda Wilkin and Jade Anouka are gifted with the juiciest dialogue in their Black Mirror-esque second act storyline, and their fraught chemistry really lifts the tail end of this production.

Otherland is stacked with inspired concepts and important narratives that need to breathe, but is ultimately bogged down by its presentational skills.

If you’re a fan of Standing At The Sky’s Edge, you will love Otherland at the Almeida.

*** Three stars

Reviewed by: Livvy Perrett

Otherland plays at London’s Almeida Theatre until 15 March, with further info here.