The rest of the ensemble take on various roles throughout, including animals; alluding to the premise that humans are in control; above them in life’s hierarchy (enhanced simply but effectively through costuming by Rae Smith.) Throughout the piece, the talented cast effortlessly lifted the script from the pages and light was shone brightly onto the key message that, systemically, humans hold little regard for the lives of animals. Each strand of the pieces’ narrative harked back to this. The disregard of animals’ feelings, a lack of respect for their instinctive intelligence, the premise that animals should be used as trophies whilst their remains are repurposed by humans and disguised as fashion. 

The star of the show for me is the lighting design by Paule Constable, combined with clever projections and sound design by Dick Straker and Christopher Shutt respectively. At the beginning of Act 2, the house lights remain on, creating a sense of both awkwardness and awareness for the audience who are forced look at themselves through a mirrored screen on the back of the stage. The lighting throughout transports us from various scenes through use of candles, headlights, spotlights and beyond. A personal favourite was the repetitive use of projection to box in Janina during personal scenes, showing how claustrophobic and dismissed she is becoming as the story unfolds.