The first part (the first day) plays mostly as enjoyable almost-farce, the tone off-kilter but then that's what one expects from Lally Katz and it's entertaining and hints at something deeper, but the second, coming after the reveal about the identity of the narrator, the appearance of the sea turtle (another in Katz's line of magic-symbolic animals) and seemingly climactic events of the first night takes on an increased poignancy as well as throwing the musical numbers and kitsch lightness of the previous day into a new light as Sandy's condition is revealed.
Typically for this most intriguing of playwrights (along with Declan Greene, the clear standout of the current Australian crop for mine), the true nature of the slipping through time, slipping out of the world, isn't clearly resolved but instead - more satisfyingly - is allowed to coexist (perhaps aptly) in something like a perpetual oscillation between a literal and a more fantastic explanation, where both could be 'true' at once.
Anyhow, also, good set, sympathetic direction, strong performances from all four of the actors. Very good.
(w/ Laura F, Erandathie and Meribah)
Typically for this most intriguing of playwrights (along with Declan Greene, the clear standout of the current Australian crop for mine), the true nature of the slipping through time, slipping out of the world, isn't clearly resolved but instead - more satisfyingly - is allowed to coexist (perhaps aptly) in something like a perpetual oscillation between a literal and a more fantastic explanation, where both could be 'true' at once.
Anyhow, also, good set, sympathetic direction, strong performances from all four of the actors. Very good.
(w/ Laura F, Erandathie and Meribah)
