The Time Machine

Playwright Frank Gauntlett’s adaptation of H. G . Wells’ novella The Time Machine is based on the 1960s version of Wells’ original storyline for the film. Gauntlett’s play brings the themes of both H.G. Wells’ film and novella from the setting of the 1900s to present day issues of climate change and extinction.

Mark Lee, as the scientist and inventor of a time machine, discovers going into a future, 802,701 AD precisely, that there are no animal life present.

There are only forests, rivers and two species left, that of the seemly childlike beautiful gentle people who live above ground, the Eloi, and those that live beneath in the ‘wells’ underground, the Morlocks. In this a one man show, Lee is eloquent, in speech, a man driven to explore his experience as a “time traveller”. His stage presence was absolutely compelling with his stories of his encounter with the future fascinating to watch, echoing Gauntlett’s verse like prose, almost a ‘Shakespearean experience’, beautiful in sound and to watch.

The Playhouse had a minimalist set - the theatre with a black drop of curtains that framed the illustrated backdrop that changed with projections of the time machine travelling.

The stage was bare except for red velvet curtains to each side, a draped globe to one side, a blackboard to the other, with a lectern stage centre, which gave the audience the feeling of being involved or witnessing a lecture. The Victorian setting gave a feeling of timelessness.

(set design by Derrick Cox; illustrations by John Kratovil; lighting design by Martin Kinnane). All the design elements suited the intimacy of the theatre. It was an interesting experience after only witnessing the 1960s movie; it brought to life elements that only live theatre can do. A wonderful rendition of everyone’s fantasy to be able to time travel -  maybe it’s not so far into the near future. A thoroughly enjoyable experience, with a great actor who shows vulnerability, range and clarity, supported by a great production crew. Amazing script. Well directed by Gareth Boylan.

Charlotte Hanson

Photographer: Robert Catto.