Ear to the Edge of Time

Set in the world of astronomical research, Alana Valentine’s compelling play explores how sexual discrimination can lurk within the traditional team ethic of science.

Astrophysicist Professor Jocelyn Burnbell , interviewed by Valentine, denied being cheated when her male supervisor won the 1974 Nobel Prize for what were her discoveries:  accepting the team leader, usually a bloke, collects the gong.

What so appeals theatrically – and dialectically – about Valentine’s refreshing approach is that it’s a male visitor who calls out the sexism, while the female scientists are pulled between ego and collaborative achievement.

And Tim Walter is charismatic as the driven, empathetic poet, Daniel, who arrives at the Parkes Telescope to interview a young astronomer, Martina, about her love of the heavens. 

His story though deepens when Martina (Gabrielle Scawthorn) excitedly makes discoveries but then is resigned when her boss, a teflon charmer (Christopher Stollery), manoeuvres for the credit.

Martina tries to stop Daniel’s story, whose suggestion of a female dummy spit of ego could ruin her career prospects leading scientific teams.  Gabrielle Scawthorn is a gauche, interestingly conflicted Martina, with a lively heterosexual tension with Daniel, as the scientist battles the artist. 

And here Valentine’s writing is as rigorous as it is poetically powerful.

Martina’s debate with an accomplished fellow astronomer (Belinda Giblin) adds a further complexity of ideas beyond predictable gender issues. 

Under Shaun Gurton’s angled giant telescopic eye to the colourful heavens, in an otherwise sparse black box set, Nadia Tass’ direction is slick and inventive. 

It’s a play of ideas, always welcome, and a rare one about science, and Stollery and Giblin in other smaller roles add much character and wit to the journey.

Martin Portus

Photographer: Kate Williams