In the second half, the islanders have been evacuated and relocated to England. They are working in one of Hansen’s glass jar factories. Mill yearns to return to her beloved island, but is told that the volcano destroyed everything. When Mill reveals a terrible secret from the past, Hansen decides to tell her the truth. The play had a revival at the Dundee Repertory Theatre in 2012; artistic director James Brining created an ambitious stage design using 29,000 litres of water. [8] The water covered the stage as a shallow pool for the first act, and was collected into jars, laid around the stage, for the second. The revival was critically acclaimed, with both Brining's design and Harris' plot receiving praise, although the dialogue was criticised as over-long in places. [8] [9] Ultimately it feels a little sophomoric. There are two subplots about terrible buried secrets that must eventually come to light. The play would bebrisker and strongerif you cut the younger characters (Francis and Kirsty Rider’s Rebecca) out entirely, as they’re not really given a huge amount to do. As far as I can tell, Harris has maybe sexed up real historical events in a way that maybe feels a bit lurid. Weber, Bruce (6 February 2002). "THEATER REVIEW; Where Citizens Are Guilty, but Always With an Explanation". The New York Times. ISSN 0362-4331 . Retrieved 19 May 2021.

Irregular adjectives are one of those exceptions, but even more solid rules are open for interpretation. To find out more about comparative and superlative adjectives, read “ Clearer or More Clear: Understanding Proper Usage” to know which rules apply when. Over the next few scenes, Bill, who has been employed in the factory's boiler room, becomes increasingly obsessed with discovering the source of the water in the factory's pipes and in his own garden. Mill, meanwhile, becomes the organiser of a plan devised by the islanders to send a few men to the island to take photographs, in hope that it would give them closure; both Mr Hansen and Francis discourage the plan. Francis has become distant from the other islanders and from Rebecca, who is now actively trying to win his love.Figurative distance — it refers to the progress of South Africa’s human rights laws compared to all other countries on the continent. You’ve all seen two very similar sounding words: “further” and “farther.” Despite some ideas to the contrary, these are not American versus British spellings. “Further” and “farther” are two different words, despite sounding the same and having close meanings. As an adjective or adverb, “further” refers to distance. “Farther” also refers to distance, but the distinction comes within the type of distance you are describing. Remember that “farther,” spelled with an a, refers to physical distance, while “further” refers to figurative or metaphorical distance ( source).

There’s a rambling quality to the first half, which sets the play up as a showdown between salt-of-the-earth islanders and the sharp-suited representative of Big Jar. The set design in Act I is relatively bare, save for the occasional furniture and props. It represents the ‘simple’ island life, a description mainland reporters use later in the play. The mood greatly differs in Act II, when the production crew introduces massive tables physically barricading the islanders in their spaces, evoking the experience of being trapped against their wills. Harsher and more defined lighting is also adopted in the second half, accentuating the struggles experienced by each character: inner conflict experienced by Bill who eventually succumbs to the guilt of contributing to Rebecca’s “miscarriage”, personal conflict between Francis and the islanders who find it appalling that they need to make appointments just to speak with him, societal conflict experienced by the islanders, who cannot fathom the idea of living in the city permanently. The use of music and physical theatre to both link and separate the secluded island and modern Britain is well-done, the cello enhancing the organic way of life in the middle of the Atlantic in comparison with the electronic bass that pervades the UK factory. The trouble with the cello however comes when it is used at the same time as some key dialogue. Anna Swinton’s harrowing pleas to Oscar Gilbert are sadly drowned out by the accompanying music. There is a sense again that there is too much going on onstage. In response to a question from a writer, The Chicago Manual of Style deferred to Webster’s 11th Collegiate Dictionary , which states: “ Farther and further have been used more or less interchangeably throughout most of their history, but currently they are showing signs of diverging. As adverbs they continue to be used interchangeably whenever spatial, temporal, or metaphorical distance is involved. But where there is no notion of distance, further is used.” Notice how further communicates both literal and metaphorical distance in this quote from The Last Battle by C.S. Lewis:When you use “farthest,” it is good to remember that you should use the word for measurable distances. Whether it’s in meters, miles, millimeters, or gigaparsecs (3.26 billion light-years of distance), “farther” should be your go-to term ( source). Example

Let’s test your knowledge again. Read the sentences below and decide if “farthest” is correct in each context. This is a drama of dark secrets and portents. Before an unwanted pregnancy is revealed, precious eggs are dropped and smashed. A capitalist arrives on the island: he manufactures jars but makes nothing to put in them. Still, the interest lies not in plot, but in the evocation of place and manner. The unadorned nature of the inhabitants’ way of life is conjured in Soutra Gilmour’s design and Ian William Galloway’s videos: there is no domestic clutter; a sheet drawn across the stage ripples with Hokusai-style waves; Shapla Salique keens, beautifully if all-purposely. The dialogue still startles. Syntax is distinctive: “I is forgetting … ” As is pronunciation: egg becomes “hegg”; in the case of “Henglish” for English, this is used as a subtle display of irreverence. Jenna Russell embodies the idiom beautifully, with a Quakerish style: direct look, steady demeanour, fearless speech. She is the heart of a scattergun production and its main tug. Francis Swain, the nephew of Mill and Bill, who adopted him after his mother starved during the War. His return to the island after a year in Cape Town drives many of the play's events. Zinnie Harris’s second play ‘Further than the Furthest Thing’ isn’t necessarily amasterpiece. But there’s much about it that is still compelling, and once it gets going Jennifer Tang’s Young Vic revival feels intensely worthwhile.Second, when referring to something improving or making progress, then “farther” and “farthest” are not applicable.