Jackals is a poignant and thought-provoking play which shines a light on the importance of telling the stories of women previously overlooked and left out of male histories. The dedication of the writing of Becca Robin Dunn and Claire Macallister to amplifying Emma Eckstein’s voice is inspiring, and treats this real life figure with the respect and reverence which she was not awarded within her own life and relationship with Sigmund Freud.
Dunn and Macallister exhibit beautifully emotive acting, using both their expressions and bodies as vehicles for what their characters are feeling, helped by movement director Melanie Jordan’s captivating choreography. Niroshini Thambar’s music and sound design complements the sections of movement, alongside Benny Goodman’s lighting design. Other creative choices feel fresh and innovative. The use of an orange to simulate the mutilation of Eckstein’s body is particularly moving and creates a striking visual. Whilst minimal, the rigidity of the costumes as well as the hard wooden set pieces help in echoing the themes of discomfort.
The play falters in its portrayal of Freud which comes across unclear, damaging the presentation of his relationship with Emma which is at the heart of the play. Is Freud a bumbling drug addict, a slimy medically negligent frat boy, or is he a caring doctor? Whilst he is presented as all these things at different points, it is hard to grasp his character and you never really understand why Emma would trust or respect him. Another aspect which feels inconsistent is the blocking of dialogue scenes between Eckstein and Freud. Considering how deeply thought-out the movement is, the blocking sometimes feels like an afterthought — with the exception of the scene between Wilhelm Fliess and Freud, which injects some much-needed energy into the piece. The use of Freud’s letters really helps to understand his motivations, and could have been used more frequently to guide the audience towards a message.
The script gets great laughter from the audience, although at times it relies on telling rather than showing, and the line between comedy and tragedy becomes somewhat obscure. The pacing of the play also does not lend itself to the audience wanting to engage with Freud’s character — it feels disjointed, with too long of a script for the tight run-time. Nonetheless, Olivia Millar-Ross’ Jackals is an emotional and entertaining play with an important story to tell.
Photo by Mihaela Bodlovic