By Tanner Tate
The Distance of the Moon is a short story written in 1965 by Italo Calvino, originally scribed in Italian and translated to English in 1968. Calvino’s story served to explain scientific mysteries and create elaborate narratives to do so. These stories were never intended to be taken as scientific fact, but instead to give the readers reason to pause and reflect on how the vastness of the universe and the interactions in the cosmos and in nature can be reflected in the ways we interact in our daily lives. In Sackerson’s production, additional writing has been done by Morag Shepherd, which is instrumental in crafting the meaningful relationships between characters experienced as the story runs its course.
I entered a mildly-lit and intimate space with tennis-court seating bookending a slim stage that houses a wooden structure acting as a boat and ladder through the course of the show. A mural depicting the wild whirl of the ocean stretches from one end of the stage to the other, where a weathered scaffold stands lashed to the corner of the space. Surrealist clouds linger over the scaffolding. Deep, subtle music plays quietly amidst the sound of ocean waves brushing against the shoreline. The entire atmosphere is remarkably soothing.
The story begins with Qfwfq (Jahnavi Alyssa) giving an introduction to the history of the Moon. He states that, at one time, the Moon and the Earth were very close to one another; close enough that one could sail out into the middle of the ocean and use a ladder to get from one to the other. He personifies the Moon as a woman, who quarrels with the Earth over the space between the two, putting one another in the shade constantly, “first one, and then the other.” The first five minutes of the show is Qfwfq telling the story in exuberant fashion, full of awe and wonder at the complexity and sheer massiveness of it all. This awe and wonder carries through the entire production as the rest of the ensemble is introduced. Captain Vhd Vhd (Mark Fossen) is the leader of the pack as they sojourn across the sea, accompanied by his wife, (Elizabeth Golden) a young girl, Little Xlthlx, (Samantha Matsukawa) and, of course, Qfwfq, along with his deaf cousin, known simply as The Deaf One (Graham Brown). The entourage sets out boldly to sea, and Sackerson makes an impressive use of expert choreography, with due credit to Breanne Saxton. The cast produces interpretive visuals of calm seas, violent storms, warm days, and cold nights, various sea creatures swimming alongside the small boat, and briefly describes each of the characters with hardly any of them uttering a word. Once the group reaches the spot where the Moon is close enough to reach, they send someone up to retrieve some ‘Moon Milk’, which is a substance gathered from the surface of the satellite that sells for a pretty penny back on Earth. Prolonged time spent on the Moon makes it more and more difficult to return to Earth, which is demonstrated when Little Xlthlx has a deep difficulty in readjusting to the gravity, and the dangers of spending too much time there become apparent.
During a routine expedition to the Moon, The Captain’s Wife has a desire to take part. Though several in the crew argue against it, she attempts to jump, and becomes lost between the Moon and Earth, falling indefinitely before Qfwfq jumps to her and the two tumble to the surface of the Moon. Once there, the Moon drifts too far from Earth to return immediately, and they begin to interact in an intimate manner, both revealing their experience with both pain and wonder during their lives. In a short time, both of these characters become exceptionally human as their hopes, flaws, and pasts are painted vividly in an abstract mural construed from dialogue. Without giving away too much of the story, as the Moon becomes close enough for the two to return to Earth, both become embroiled in the possibilities of escaping the pain and staying on the Moon indefinitely, and once the time comes to make a decision, the duo must choose whether to stay alone on the Moon, away from the disappointment of reality, or return to face the lives they hate and love altogether.
Alysa brings an excitement and life to the stage in her portrayal of Qfwfq; a stimulating performance which manages not to waver nor stagnate through the entire story. Her authenticity is some of the most convincing I have seen in a long time, and the same authenticity resounds through the rest of the cast. Alysa combines excitement, stillness, and connection in a coalition that compels the audience member through every moment.
Golden presents the same authenticity with a different take as The Captain’s Wife. Her character thrives on stillness; a product of her experience in life that dwarfs the experience of Qfwfq, (by 600 years.) Golden captures pain and grief in an honest manner, diving deep into the feeling of loss, rather than avoiding it. Through her loss, Golden exemplifies a glimmer of hope. The Captain’s Wife says, “When we don’t see the sun, it doesn’t mean it’s not there.” It is apparent through her portrayal of her character that Golden understands this, and truly believes it.
Fossen creates the character of Captain Vhd Vhd, and the character he has molded is a mysterious and quiet one. He doesn’t speak often, but when he does, it is speech that one would be wise to heed. He tells stirring tales of adventure and magic, and does so with an artistic flourish and wisdom found only through experience.
Little Xlthlx could very easily be lost in the experience of the production as a background character, but Matsukawa manages to channel a young child into the spellbinding world of the story. Her amazement at everything around her is apparent without becoming overbearing, and it even managed to awaken the childlike sense of wonder within me. When she looked up to the sky, I looked up to see whatever it was that was so amazing. I saw ceiling. She saw something much more.
Brown steps into the silent role of The Deaf One. Arguably, Brown’s character may have been the most interesting to watch while on the stage, as his entire narrative was presented through movement. He managed to create worlds on his own with humor, excitement, curiosity, relaxation, and many other emotions a human can experience while never making a sound.
The direction of Sackerson’s production by Dave Mortensen, a resident artist and founding member of at the company. Not enough good can be said about Mortensen’s ability to immerse the audience in a story. The movement of the actors is expertly placed, and there were instances where a single step in one direction elicited a physical response from me. Mortenson’s direction creates a closeness that an audience begs for, as well as a distance akin to an ocean between two characters standing only steps apart.
Other production team members include Madeline Ashton, who handles the prop work and scenic design. Ashton contributes greatly to the immersive quality of the story, using abstract methods to produce a true work of visual art. Jessica Rubin helms the costuming of the show, which places the characters in an unspecified time period that leans into a blend of fantasy and reality where time does not exist. A large, modern coat adorned by Captain Vhd Vhd, blends with suspenders and a ragged button-up worn by Qfwfq that seems to lend itself more to early 1900’s New York City, among other articles worn by various cast members that produce an extra sense of wonder in the story. With a sound design created by Shawn Francis Saunders, the show takes on a final level of awe, with resonant but unobtrusive music blending each scene into the next. Finally, no show is complete without those who hold it all together: Stage Manager and Assistant Stage Manager Miranda Giles and Maria Martinez, respectively. The show went off without a hitch, and it is, no doubt, thanks to these two.
Sackerson’s The Distance of the Moon is a journey through human consciousness. It is not an experience of watching actors perform a story, but instead an adventure that dives into what makes us all human. The characters demonstrate not that we ache, but why we ache, and that instead of trying to help someone out of their pain, perhaps we should just be with them while they feel it. The production plays through December 22, and don’t hesitate to purchase tickets. Once word gets out about the show, there won’t be any left to acquire. The Distance of the Moon is an exploration of human interaction in a beautiful way. If you are interested in abstract art, alternative theatre, movement-based acting, or a well-told story, take the chance to see The Distance of the Moon by Sackerson. It’s not just a show; it’s an experience.
“…and then we’re lost.”
“Then I’ll find you.”
“It’s not that kind of lost.”
“Then I’ll hold you.”
Because the material may be confusing to younger viewers, I recommend ages 13 and up for this show.
Sackerson presents The Distance of the Moon, by Italo Calvino with additional writing by Morag Shepherd.
Wasatch Theatre Company, 124 South 400 West, Salt Lake City, UT 84101 *Enter from inside the underground parking.
Tickets: $12-$18
November 23-December 22, 2018 See website or FB event for times.
Tickets: $12-18.00
Contact: hello@sackerson.org
Sackerson Facebook Page
Wasatch Theatre Company Facebook Page
The Distance of the Moon Facebook Event
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