The Old Man and the Old Moon

The moon used not to wax and wane. It used to be full of light until it developed a slow leak. The audience at the first night of The Old Man and The Old Moon may have entered the state-of-the-art new Studio Theatre slightly leaky but left, universally, brim-full of light.

The Old Man and The Old Moon is a modern fable, an epic, a rollicking and whimsical parable about aging, loss, work, global cataclysm, and love. It is genuinely a work for both adults and children. The appreciation and joy to be experienced in the show compromises the demands and expectations of neither demographic.

The work was created by PigPen Theatre Co, Pennsylvania, in 2012.

The right venue for this work is the new Studio Theatre at the Theatre Royal. It is part of the new Hedberg development, and in the style of an amphitheatre. There is no raised stage and no proscenium, and the audience surrounds the acting area on three sides.

As the audience took their seats on opening night, there was a susurration of awe for the set, designed by Melanie Ransley. Constructed in a nautical design over several levels, the set is versatile, ingenious, and beautifully dressed by Samantha Sangston.

Lighting, even when done well, is often overlooked. The lighting of The Old Man and The Old Moon is stunning. Some effects are obvious, such as the limpid underwater sequence. At other times a simple pool of light delineates a smaller space. The colours and filters significantly contribute to the magic of the show.

There is no programme credit for the puppets or shadow puppetry which are an integral and complementary part of the story. It is very well executed and designed.

A vocal accent coach might have evened out some of the incongruities in diction but the cast, diverse in age, background, and experience, is very strong.

Ollie Gorringe opens the show. This young man has honed his skill over the last 12 months with Round Earth Theatre Company and his is a mature and confident performance. Jalen Sutcliffe is a powerful stage presence.  Prophecy Mudzingwa and Harris Sar’i extend themselves in multiple capacities. Lizy Spanou exhibits a strong sense of physical characterisation and comic timing. Sorin Vanzino is clearly a most capable and versatile musician.

Natalie Venattacci as Matheson also functions as narrator. She is assured and engaging in both capacities, facilitating the flow of the tale in direct address to the audience. Bil Heit and Jeff Keogh, both accomplished actors, are well cast as the old woman and the old man. There was much warmth and humour in their performances.  

The Old Man and The Old Moon is, more properly, a play with music than a musical. The Irish/folk score provides a commentary and a soundscape to the action without necessarily advancing the plot. The score is similar to Come from Away or Once. Like the latter, most of the cast are multi-instrumentalists and the playing is integrated into the action. A particular delight was to see the brilliant Andrew Morrisby step away from the piano to use a thunder maker (an item that appeared to be a BBQ cover).  The score is beautiful, original and compelling.

Jack Lark and Finn Carter are visionary young entrepreneurs. For those looking for joyful adventure - or for those who feel less than spiritually replete or have lost their reason and bliss - The Old Man and The Old Moon is balm for the soul.

Anne Blythe-Cooper