By Karyn Lee Greig
Skating in the Clouds by Clare Mendes is a delightful, highly imaginative, whimsical piece of magic realism which encourages us to look at climate change with fresh eyes. We are introduced to the characters of Summer (Katrina Mathers) and Autumn (Rebecca Morton), who meet in a salsa dance club and who embark on a relationship. Summer is a pilates instructor and ‘dreamer’. Autumn is the practical handyperson of the two, and a scientist. She wants to make a difference to the world by improving food sources, promoting sustainability and caring for plant and animal species. Unlike Summer, Autumn hears foreboding water leaks but doesn’t know where they are coming from. She knows nevertheless that ‘the mountain is leaking’. Conversely Summer prefers to remain in her ‘gilded cage’ where ‘nothing can hurt her’ and is already planning to throw a 70th birthday party for both of them in 2040. Even though conditions are already sweltering, this will be an ‘ice’ party with politicians and celebrities invited. Summer doesn’t want to face the reality of what is happening to the physical world, whereas Autumn is preoccupied by it, and this causes significant problems in their relationship.
The entire play begs the question ‘which side of the fence are we – really’? Are we an Autumn or a Summer? Or where on the continuum between the two, are we?
The intergenerational grievances of Greta Thunberg appear in the character of Toby (Shamita Sivabalan), Summer’s daughter, who confronts her mother about the state of the world that she is enduring. In the searing heat, Toby blames her mother and all ‘boomers’ for not doing anything about climate change earlier.
At 90 minutes, this is a larger show with many strings to pull together for emerging director, Emily Farrell and for Ellie Nielsen, who so ably assists. Emily acquits herself admirably by presenting us with a touching rendition of this work.
The cast do a fine job. Katrina Mathers and Rebecca Morton, as the protagonists, work well together finding a gentle, affectionate chemistry. Shamita Sivabalan and El Kiley skilfully play a variety of supporting roles, bringing a fresh energy to the stage. The movement coordinator, Lucy Payne, had a significant role in this production as the lead characters dance the salsa and move in a variety of ways. All characters have to skate on stage – a big ask, but fun.
Bianca Pardo’s white set design, with the big central bed and canopy, proves versatile in the way it is used. The evocative window to the outside world is lovely to the eye, when complemented by Natalia Velasco Moreno’s lighting.
Sharyn Brand’s sound design enhances both the narrative and action on stage. However, from where I was sitting (centre) the overhead speaker hinders the speech on stage, especially at the beginning. Adjustments may need to be made either by the actors upping their vocals or the music being turned down a little.
I’m confident the pace of the show will pick up over the season eg entrances and exits were a little sluggish. Similarly, the conflict in the show may hit its stride, enabling greater dramatic contrast, with the audience being taken on a more intense emotional journey.
Overall, this is an extraordinary evening in the theatre. There are some cracking lines such as Summer’s ‘but no-one tells you about the pain’ (of life). The symbolism and theatricality of the piece is as clever as it is unique. And yes, I was challenged – about my own attitude and actions regarding what’s happening to this planet. Don’t miss it.
Image:Anna Moloney-Heath
