Review: FAR AWAY at University Of Central Arkansas Theatre in Conway

The University of Central Arkansas Theatre Department in Conway continues to prove that collegiate theatre can be as intellectually daring as it is artistically fearless with its production of FAR AWAY by Caryl Churchill, which ran February 20-22. Directed by Ava Godfrey, this haunting, thought-provoking work abandons conventional storytelling in favor of atmosphere, symbolism, and emotional unease.

Originally written in 2000, Far Away unfolds in three distinct movements, following Joan from childhood into adulthood as the world around her shifts from uneasy to outright dystopian. What begins as a quiet late-night conversation evolves into a surreal landscape where morality bends and alliances blur. Churchill never offers easy answers, and this production wisely leans into that ambiguity, allowing tension to simmer rather than forcing resolution. The result is theatre that asks you to sit in discomfort and really think.

Anna-Elise Polk delivers a riveting performance as Joan, guiding us through the character’s emotional evolution with remarkable precision. Her early innocence is fragile and searching, and as the story progresses, Polk subtly layers in a growing awareness that feels both heartbreaking and chilling. Even in stillness, she commands attention. Polk understands the rhythm of Churchill’s language, letting pauses speak as loudly as the text itself.

As Harper, Nancy Miller is quietly mesmerizing. The opening scene between Harper and young Joan is filled with subtext, and Miller balances maternal calm with something far more unsettling beneath the surface. Her measured delivery makes the audience lean forward, searching for truth in every word. It is a controlled, intelligent performance that sets the tone for everything that follows.

Tristen Spillers brings grounded sincerity to Todd, offering a sense of humanity in an increasingly fractured world. His chemistry with Polk feels authentic, which makes the later moments land with even greater weight. Spillers plays Todd not as a symbol, but as a person, an important distinction in a play that often operates in metaphor.

One element I don’t often find myself singling out in a production is props, but in Far Away, the hats demanded attention. Each one felt like a character in its own right, blurring the line between artistry and unease. The craftsmanship was stunning, yet the beauty of them only heightened the discomfort of the scene. And that bird hat—oh my goodness. It was visually captivating, intricate and delicate, yet there was something haunting about it.

The set, though simplistic, carried a strong dystopian undercurrent. The floor was particularly striking with the painted water leading out the door. Lighting and sound design worked seamlessly together to create an atmosphere that felt dreamlike yet dangerously real. Transitions between the three sections were fluid, almost cinematic. It truly felt like we were in another world.

What makes this production particularly impressive is its confidence. Far Away is not easy theatre. It challenges its actors, its creative team, and its audience. Yet the UCA Theatre Department embraces that challenge wholeheartedly, demonstrating a commitment to producing work that expands artistic boundaries and sparks conversation. This was definitely a teaching piece, and I enjoyed the mind expansion. 

CREATIVE TEAM

Director -- Ava Godfrey

Stage Manager -- Jackson Ray

Assistant Stage Manager -- Landon Bandy

Technical Director -- Austin Aschbrenner

Scenic Designer -- Madie Mullaney

Lighting Designer/Asst. Tech Director -- Alli Wildman

Costume Designer -- Keiren Minter

Asst. Costume Designer -- Carley Walker

Sound Designer -- John Thomas

Properties Coordinator -- Anna-Elise Polk

CREW

Light Board Operator -- Zoey Ellis

Sound Board Operator -- AJ Troy

Run Crew -- Alyssa Williams, Max Lawrence

Usher -- Tahleigha Alcorn, Clifton McBride