In this first ever stage version of Jill Paton Walsh's Booker-nominated novel, adaptor Tamsin Clarke creates a deep and intense theatrical debate over faith, ethics and society.
The tranquil life of a remote island is shattered by the simultaneous arrival of an atheist and a child raised by wolves. Previously unasked questions about faith are raised, and the innocent wolf child, Amara (played by Clarke), is exploited in an effort to ascertain whether faith in God is innate.
With crosses subtly built into the scaffolding of the set, God is an omnipresent force for the audience, as much as the inhabitants of the island. There's a powerful performance by David Vale as the aggressive inquisitor, whose attack on the deviant beliefs of atheist Palinor (who looks astonishingly like popular depictions of Jesus) represents the historical intolerance of the church.
This contrasts starkly with the tenderness of the relationship between Amara and Jaime, the young shepherd who cares for her, raising questions about where true morality lies. Clarke's atavistic performance as Amara involves every muscle as she curls her claws, squats and snarls.
The irony of the church setting isn't lost, but eerily reverberating acoustic music does sometimes obscure the actors' voices. However, despite impressive performances and a thoughtful execution of the novel's themes, thisoften feels more like an essay to be read than a theatrical performance.