During April and May, The Way of Water, Caridad Svich’s play about the effects of the Deepwater Horizon oil spill toured over fifty venues in North America and Brazil, and in Berlin, Aberystwyth, Glasgow and London. The play toured not as a production but as script-in-hand readings by actors in each place.
The play, marking the two-year anniversary of the spill, traveled quickly, more like an indie-music event than a theatre tour. This new kind of theatrical experience is low-budget, international, tied in with social media and carbon-light.
The play deals with the toxic effects of the spill on four people, on their health, livelihoods and sense of community. The play’s impetus is towards taking action against corporate malfeasance, a revision of the plotline of An Enemy of the People.
Seeing the reading in Aberystwyth, Carl Lavery, Senior Lecturer in Drama, blogged 'Ten Thoughts on The Way of Water'. Here are three:
When I think of The Way of Water, I think of its linguistic rhythms and poetic beats - its politics of voice.
When I think of The Way of Water, I think of 4 young actors in Wales finding its meanings, walking its lines, tracing its shapes.
When I think of The Way of Water, I think of my Dad who died from a lifetime of exposure to the toxic fuel tanks of Phantom fighter jets.
photo: Encyclopedia Britannica online
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