Further than the Furthest Thing

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As the play begins, wayward son of the island Francis (Archie Madekwe) has returned after a spell working in South Africa. He has been raised by his formidable aunt Mill (Jenna Russell) and on-edge uncle Bill (Cyril Nri), two idiosyncratic island folk who speak with endearinglyidiosyncraticaccents as they fret over the three eggs (‘h’eggs’) that Mill has acquired by way of a celebration of Francis’s return. ZINNIE Harris’ award-winning play about an isolated community, first produced in 1999, is given an atmospheric revival by Jennifer Tang. Set on the remote volcanic island, Tristan da Cunha, a British Overseas Territory, it’s based on real events.

Another definition of “further” in its adjectival form indicates something more or a higher level. “Farther” is not applicable in this scenario. I loved Ian William Galloway’s video projections of the sea and Shapla Salique’s haunting live vocals. On a remote island in the middle of the South Atlantic tremors disturb the surface of the volcanic lake, but the small population are more concerned with matters above ground. An outsider wants to build a factory that he says will bring work and prosperity to the whole community. However, not everyone agrees and some question his real motives? Behind this other, darker secrets lie concealed, waiting to erupt and blow the community and their way of life apart. Based on real events on the island of Tristan da Cunha, this multi-award-winning play by Zinnie Harris ( Macbeth (an undoing), This Restless House, How To Hold Your Breath) follows a community haunted by its past and under threat from a modern world in crisis.

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The quintet on view is gradually seen to exist within the context of larger, impersonal forces — colonial misrule, for one thing — that flavours a play that may seem elusive at first but coalesces in the mind after the fact. It means “to aid in the progress of, to promote, or to move forward.” As an adverb , further means “in addition to.” As an adjective , it means “more, extended, or additional.” For instance, you might ask for further information or pursue further education. Consider this quote from The Life of Pi by Yann Martel:

It's supposedly set in 1961 and based on the real-life eruption of Tristan da Cunha but you couldn't tell from watching it. It lavishes in ambiguity seemingly taking place in an indistinct fairy-tale like purgatory somewhere between reality and make believe. Its sparse in-the round-staging has minimal props and takes place on a fittingly porridge coloured stage, a colour that matches its mostly beige tone and pacing. Zinnie Harris’s second play ‘Further than the Furthest Thing’ isn’t necessarily amasterpiece. But there’s much about it that is still compelling, and once it gets going Jennifer Tang’s Young Vic revival feels intensely worthwhile. The next scene moves forward several days, to the day of Francis and Rebecca's wedding, which has been organised off-stage. Before the wedding can take place, the volcano erupts and Rebecca goes into labour. Bill murders Rebecca's newborn baby before anyone else sees it. Mr Hansen and Mill arrive, and Mill and Bill insist on burying the baby despite Mr Hansen's objections - the island is being evacuated on the ship on which Mr Hansen had left several days prior. It has been sixteen years since Zinnie Harris’ Further Than the Furthest Thing first debuted at the Traverse Theatre, a fraught meditation on what happens when a remote island community is suddenly confronted with modernity. Based on true events from the island Tristan da Cunha, the play tells the story of the islanders who were evacuated and displaced after a volcanic eruption in 1961. It touches on capitalism and industrialisation, but also on the disturbing lengths that the islanders will go to to preserve their untouched way of life. The play is now enjoying a revival at Bedlam Theatre, in a production developed by the Edinburgh University Theatre Company.For once, the trigger warnings underdo it... there is a steady strangeness and an unhysterical sense of horror to this tale of the inhabitants of a colonial island in the South Atlantic" The play had a revival at the Dundee Repertory Theatre in 2012; artistic director James Brining created an ambitious stage design using 29,000 litres of water. [8] The water covered the stage as a shallow pool for the first act, and was collected into jars, laid around the stage, for the second. The revival was critically acclaimed, with both Brining's design and Harris' plot receiving praise, although the dialogue was criticised as over-long in places. [8] [9]

Generally, you can use both “furthest” and “farthest” interchangeably, but sometimes, only one is correct. There are a few more nuances to these terms, so keep reading for easy strategies to make sure you’re always using the correct word in your writing. Difference between “Farthest” and “Furthest” When you use “farthest,” it is good to remember that you should use the word for measurable distances. Whether it’s in meters, miles, millimeters, or gigaparsecs (3.26 billion light-years of distance), “farther” should be your go-to term ( source). Example With all these definitions and distinctions, it is easy to see why “further” is most likely to be the correct form in your writing. However, we can break it down further. Irregular Adjectives As an adjective or adverb, “further” refers to distance. “Farther” also refers to distance, but the distinction comes within the type of distance you are describing. Remember that “farther,” spelled with an a, refers to physical distance, while “further” refers to figurative or metaphorical distance ( source).

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The sense of unbelonging that the islanders feel in Act II is also greatly expressed through the costume design. The islanders’ soft pink costumes contrast the grey/blue corporate colour scheme Francis and Mr Hansen both wear. It is easy to identify at a glance who the islanders are. Yet, as much as the creative elements work together to appeal to our senses, I think that the play focuses too much on symbolism and abstraction that it draws away from its capacity to explore the themes. The dictionary definition of popularity is “to be liked by many.” Based on this definition, you might predict that popular students are the cheeriest and most agreeable people in a school: kind to everyone and always willing to lend a helping hand. Such a conclusion couldn’t be further from the truth! Farther and further are comparative adverbs or adjectives. They are the irregular comparative forms of far. We use them to talk about distance. There is no difference in meaning between them. Further is more common:

The play premiered at the Edinburgh Fringe in 1999, followed by London performances at the National Theatre in 2001. Over two decades later, Jennifer Tang directs the play at the Young Vic, starring Jenna Russell. Where is Tristan da Cunha? This is a drama of dark secrets and portents. Before an unwanted pregnancy is revealed, precious eggs are dropped and smashed. A capitalist arrives on the island: he manufactures jars but makes nothing to put in them. Still, the interest lies not in plot, but in the evocation of place and manner. The unadorned nature of the inhabitants’ way of life is conjured in Soutra Gilmour’s design and Ian William Galloway’s videos: there is no domestic clutter; a sheet drawn across the stage ripples with Hokusai-style waves; Shapla Salique keens, beautifully if all-purposely. The dialogue still startles. Syntax is distinctive: “I is forgetting … ” As is pronunciation: egg becomes “hegg”; in the case of “Henglish” for English, this is used as a subtle display of irreverence. Jenna Russell embodies the idiom beautifully, with a Quakerish style: direct look, steady demeanour, fearless speech. She is the heart of a scattergun production and its main tug. If you find yourself struggling, these rules should help you know when to use “furthest” ( source). Weber, Bruce (6 February 2002). "THEATER REVIEW; Where Citizens Are Guilty, but Always With an Explanation". The New York Times. ISSN 0362-4331 . Retrieved 19 May 2021. The use of music and physical theatre to both link and separate the secluded island and modern Britain is well-done, the cello enhancing the organic way of life in the middle of the Atlantic in comparison with the electronic bass that pervades the UK factory. The trouble with the cello however comes when it is used at the same time as some key dialogue. Anna Swinton’s harrowing pleas to Oscar Gilbert are sadly drowned out by the accompanying music. There is a sense again that there is too much going on onstage.

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Tang and a gifted design team, headed by the seemingly ubiquitous Soutra Gilmour here in minimalist mode, stage events in the round, with audiences encircling the action, and actors who sit between scenes in the aisles, directly next to playgoers.