CENTRAL WORKS OF BERKELEY PRODUCES THEATER IN A SMALL, rectangular meeting room inside the Berkeley City Club. Yet their productions often transport audiences to other worlds as effectively as any full-scale theatrical stage.

“Project Ahab; or, Eye of the Whale,” a new musical on stage now through Aug. 23, is no exception — in fact, it is one of the more magical experiences I have had the pleasure to experience there.

As the lights go down, the spotlight is on a young woman eagerly stuffing a canvas bag. Izzy (Caitlyn Louchard) is enthralled at the prospect of joining the crew of the Rainbow Warrior II, a ship whose current mission it is to thwart a Russian whaling ship. The target vessel and its captain are known for slaughtering entire pods of sperm whales at a stint, harvesting the valuable oil from their heads and leaving the less profitable carcasses behind — and the Warrior is intent on getting in its way.

Along her cross-country trek from New Bedford, Mass. to Vancouver, Canada to join the ship’s next voyage, Izzy meets Cree (Sam Jackson), a prize-winning photo-journalist recently returned from war-torn Vietnam. Izzy joins Cree on a quick photo hike and sells her along the way on her own passionate quest to serve humanity by rescuing the endangered giants of the sea.

As Izzy and her new friend reach their destination, Izzy soon finds project leader Hunter (Actors’ Equity Association member Michael Barrett Austin) and pleads with him take them on, while Cree stands sheepishly back. Hunter’s infectious enthusiasm captures both their hearts, though, and despite their almost nonexistent seafaring experience, they are taken on.

Clive Worsley fills the most powerful role of intense ship’s captain Franklin, whose leadership style seems subtle at first, but who proves to contain a dangerous bent as the ship begins to near its destination.

Worsley captures the iconic Captain Ahab personality upon which Franklin’s character is based, though this captain’s nemesis is not the elusive whale but their mutual enemy, the destructive whaling craft that has been systematically slaughtering the species without restraint.

Louchard is fresh in her role as the naïve but passionate activist, and there is a special, realistic and raw chemistry between her and the female photographer. The young men on board (Hunter and Equity actor Ben Euphrat as Mel) are charismatic but not anywhere near as consumed as Izzy. They are eager participants — and sensitive musicians, singing bold and noble lyrics when not on watch — but their power of purpose pales in comparison to Izzy’s, and also of course to that of their increasingly intense captain.

It’s easy to feel the elegant culmination of 1960s ecology and late-19th-century seafaring ages in this intense and thought-provoking story, closely sprung from both Herman Melville’s 1851 classic novel “Moby Dick” and the work of contemporary marine activist organization Greenpeace. Once the Warrior’s voyage is well under way, the audience is effectively transported to the small and vulnerable craft and becomes intimately acquainted with its crazed captain and fearful crew, alone in a vast ocean and destined for a high-stakes battle.

Part of the lure in this tale, written by Central Works co-director Gary Graves, is the gradual revelation of secrets that unfold on the stage much as they would in reality. What happened to the previous ship, the Rainbow Warrior I? Why is this seasoned seaman so involved with this fledgling cause? Big things are often accomplished with at least a little bit of careful omission, allowing more full disclosure to surface once sufficient interest has been piqued. Unfortunately, had they known in advance the true nature of their captain’s drive, none of the crew would likely have joined him. Though they ultimately achieve their purpose, none could have anticipated the full extent of the risk they were taking.

The honed skill and focus of the players make the tiny space inside the City Club seem to grow bigger, with the aid of simple but careful lighting and unique and beautiful sound effects. The crew make music with acoustic and electric stringed instruments and crude percussion instruments, and whale song is incorporated in various forms. Overhead projection adds depth as well, also incorporated into the action in various creative ways.

“Project Ahab” is artfully written and portrayed. It might be best appreciated by those generations of audience who personally experienced the ecology-aware age of the 1960s and early ’70s. For younger audiences, it may leave a different — though not necessarily less memorable — impression. Aside from its inherent value as a quality production overall, it is also a terrific reason, if we needed a reason, to acquaint or re-acquaint ourselves with the iconic Melville tome.

Go see this fresh and powerful play. At $28 a seat, the entertainment value is hard to beat.

If You Go
“Project Ahab” continues at the Berkeley City Club, 2315 Durant St., Berkeley through Aug. 23. Tickets are $28 and are available by calling 800-838-3006 or online at www.centralworks.org. For more information call 510-558-1381.

Elizabeth Warnimont is a freelance writer specializing in the performing arts. She holds a bachelor’s degree in literature from UC-Santa Barbara.