Anatomy of a relationship in the aftermath of suffering
TO GET TO THE MOON
DIRECTOR: Roy Sargeant CAST: Anthea Thompson and Adrian Galley VENUE: Masque Theatre, until March 24 RATING: ★★★★✩
NOT for nothing is this insightful two-hander from Dawn Garisch set in autumn, a season conducive to reflection, introspection, nostalgia and mellowness. It gently probes one of the worst tragedies that can befall a couple, namely the loss of an only child, and initially one is tempted to think that the play’s theme starts and ends there. However, as we accompany the bereaved parents on their emotional journey, it becomes apparent that this work is multilayered: it is the anatomy of a relationship, a comment on the resilience of love, a perspective on different ways of dealing with grief, and an affirmation of the need for courage to move on in the aftermath of suffering. Above all, it asserts the liberating effect of honesty.
This complex material is presented with a lightness of touch that makes the drama anything but sombre; the articulate dialogue is seasoned with humour as Norman and Bianca work their way through the difficult anniversary of their late son’s birth. Thompson and Galley tackle their roles with the authority of experience and generating credible chemistry.
The husband takes refuge in occupying his mind with writing a book seemingly inspired by The Naked Ape, while his wife’s negation of the child’s death is epitomised by the bizarre production of a birthday cake complete with candles and the number 16 (Daniel died four years previously, aged 12). A bottle of whisky near Norman’s computer and a candle-bearing Buddha on the stoep attest to different ways of coping with loss. The pair also react differently to minor crises, like the temporary deletion of text on the computer, or the donning of a beanie that belonged to Daniel.
This may be a marriage entering into the sere and yellow, but it does not preclude memories of ardent courtship and joyous parenthood, and some of that former exuberance resurfaces – for instance when Bianca coaxes Norman to dance with her, or when they trade reminiscences which include, significantly, the excitement of living in an age when man set foot on the moon.
When both finally muster the courage to admit past transgressions, that epic achievement seems less remote…
The well-devised set by Paul Regenass, with its careful attention to detail, provides a plausible setting for this domestic drama, while Roy Sargeant’s direction maximises both the humour and the poignancy of To Get To The Moon. A heart-warming piece of theatre.