The apocalypse is upon us my friends! Meteors plummet into
populated areas. Giant crocodiles that may (or may not) be Godzilla that may
(or may not) be the American or Japanese version that may (or may not) breathe
fire are on the rampage. Bodies litter the streets.
Relief is at hand for Peter who has found refuge in a quiet café
at the end of the world. It’s not quite the Restaurant at the End of the
Universe but it certainly is a welcome respite from ‘out there’... until a
blood spattered woman, Rachel, enters… who happens to be Peter’s ex. Not just
any ex as we’re about to find out but what could be best described as ‘The One’
as he is for her.
The night time temperatures may have been plummeting in
Perth but that’s nothing to the frosty reception these two initially
give each other. But time is running out and what else is there to do but talk
about the past, both good and bad, and re-examine two lives once so intimately
entwined?
Writer Scott McArdle (who plays Peter) isn’t so much
interested in the apocalypse other than to use the concept of the world ending
as a context to explore these two people and their relationship over the course
of a lifetime. There is no future for this couple but this also gives them the
freedom to share experiences and memories; some for the first time, some
joyful, some painful, some full of doubt, regrets and even perceived betrayal.
In effect, we witness a series of flashbacks – ‘landmarks’ in
their journey together. The conceit here is that they choose what ‘scenes’ to
reenact - the first meeting, moving in together, work issues, significant
highlights but also notable lowlights that point to the antagonism portrayed in
the present. Revelations are disclosed towards the end that lends further
poignancy.
McArdle is good as the rumpled, fatalistic Peter but it’s
Emily David as Rachel who really shines in a nuanced performance – angry,
loving, playful, morose – her character is the one who thought she might live
forever yet discovers ‘forever’ has a used by date. The sequence where she is
alone on stage including holding an ‘imaginary breakfast’ with Peter is very well performed.
The transitions between the present and the flashback scenes
are aided with minimal costume adjustments, lighting (essentially naked light
bulbs) and original music composed by Drew Krapljanov who is putting together
an impressive list of scores including The Pillowman earlier in the year and
SCT’s very own Bye. Gone. It’s the acting, however, that clearly delineates the
various timeframes as mood changes are beautifully conveyed.
The dialogue is very strong and everything is paid off
nicely – from the reprising of lines (no, I’m not mumbling) to the reward of
earlier set-ups as we discover what happened after they split up and, perhaps
more importantly, what they hoped might have happened. Scott and Emily have
good chemistry together, essential as there is real closeness in the physical
nature of their early flashback scenes. There is a wry sense of humour
throughout.
The only query I had is when other characters are portrayed
– a Doctor and Rachel’s mother. The conversation between the Doctor and Rachel
signifies a substantial change in POV for the first time (in that it’s not a
shared recollection between Peter and Rachel); the latter is almost a
Python-esque style sketch that was tonally jarring.
This is an intimate examination of a couple so the
choice of venue, an actual café in Fremantle, adds to the ambience. Seating
only thirty I was a mere metre away from the action in the front row. There was
no place for either actor to hide and they did a wonderful job.
Written by Scott McArdle and co-directed by Scott and Emily
David, Coincidences at the End of Time is being staged once a month at the
Moore & Moore café in Fremantle until September. Next performance is 10 July at 7pm and the play runs for approximately 45 minutes.
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