A quirky yet unmoored exploration of one man’s lifelong quest to make navigation safer.
Longitude, a new musical, details the story of John Harrison, the self-taught clockmaker whose inventions changed the landscape of 18th-century navigation. This project from first-time writer Kaz Moloney pitches the humble Harrison against the haughty Board of Longitude, as both parties seek to discover a way to navigate more safely and precisely by measuring longitude (essentially, how far east or west a ship had sailed). While latitude could be measured relatively easily by the early 1700’s, being unable to measure longitude often left the British Empire’s ships stranded or wrecked.
As audiences enter, the stage is awash with aquatic blue lighting and projected images of the earth from space, while faint morse code and radio transmissions create a soundscape that sets the stage for a nautical tale. The show’s opening dives into this landscape, as we hear strains of narration, perhaps from a ship’s log, over projections of ocean waves, creating a vivid sensory experience.
With minimal set pieces, the ensemble’s movement (choreographed and directed by Amanda Noar) creates much of the visual interest of the show. The more light-hearted scenes were illuminated by strong character acting, such as Troy Yip’s ‘inventors’ presenting ever-wilder contraptions to the Board. David Phipps-Davis as John Harrison brings an earnestness to the role which is easy to sympathise with, and his mellow yet operatic voice brings colour to ballads like “The Dreamers.” The science of longitude is laid out in the playful “Calculating Longitude,” as John Harrison’s precocious daughter Lizzie (Imogen Opie) explains the concepts to her easy-going brother William (Sam Chisnall). As John Harrison brings ideas to the Board of Longitude (charged by the government to find a reliable method of measurement), he faces rejection and self-doubt. Through this conflict, the Reverend Maskelyne (Alex Lyne) emerges as the main villain; Lyne is a treat to watch, as their talent for comic timing and movement brings moments of lightness to an otherwise unpleasant character. Maskelyne’s “The Man Who Conquered Time” was a highlight, especially as Lyne and Phipps-Davis face off in a brief duet to finish the number. The finale, “We’ll Find You Weary Travellers,” was another enjoyable number, with strong ensemble harmonies.
However, several aspects of this musical give the impression of a work that is still mid-way towards its final form. Some of the most dramatic plot points of the show, such as illnesses and ocean voyages, were only mentioned and not explored onstage. One of the joys of quite minimal sets is that otherwise ambitious locations, like an 18th-century ship, could have been created as easily as scenes on land; the projected seascapes added a good sense of adventure, but this was lacking in the scenes themselves. At times, the chord progressions felt untethered as well; perhaps future versions of this score will find a more focused momentum to match the energy of the story itself. King George III also makes a cameo as the ‘comically insane’ ruler, which feels slightly out of touch, or at best a call-back to Hamilton (which is, after all, only one syllable away).
Harrison’s story is certainly a compelling one, which leaves you hungering for a deeper dive into the specificity and nuance of this tale, such as the chance to see Harrison’s clocks in action, consideration of the colonial systems Harrison was enabling, or lyrics which feel more consistently grounded in the details of Harrison’s world. The core of this story is strong enough that future versions can afford to lean into the specific and scientific aspects of the plot, rather than attempting to make the story more relatable.
Longitude is currently running at Upstairs at the Gatehouse in Highgate from 13 June to 7 July.