impressively mounted

From page 27

She likes the screen door closed
to keep ‘the nasties’ out and is
J generally in the kitchen shouting
“Did somebody say something?”
when other people are being un-
Pleasant.

In one classic scene Goldie
Semple takes Chloe's avoidance to
‘sublime heights as she hoofs her

‘way throtigh Trudi Forrest's hilari-
‘ously hackneyed choreography
rather than face real-life pain’ — in
this case, the.removal of a sliver
‘from her brother's foot.

«The avoidance of reality, or-

- truth; is really the theme of the
“play. All four characters have
more, than the odd mote in their
eye. - :

oJohn ‘denies his cancer and.
- death to the point that he would
“rather watch his bobbing kite than
’.the bobbing head of a swimmer ’
intent on suicide: ~.: 7

>" Sam.would rather look at a:

magazine picture of disfigurement -

than the face of the drowning \ vic-

But there is no permanent em-".
bracing of truth even after Sally

forces everyone to admit that their.”

avoidance of her.dead brother's
_swimming pool is due to the fear
of what lurks beneath its calm sur-
' face. A phantom and sadly imag- ».
ined legacy of her. brother and his
black lover's disease. . 3.
i 3The play concludes with sally
“avowin:
Sam and Sam being advised by
hice to-do the same... -

AS Chloe : says: the truth Kas.
gotten more people into trouble
han‘all the lies that were ever

old.!! : :

Semple’s energetically empt
aded Chloe finds a series of 7

‘small housekeeping and personal
nits to pick with Wendy Noel’ s'
Sally: :
: ected more’ from the story:
f Sall ly/s responses, suspicio

reams s ae 7
However, Noel vrovides a...
trong centre forthe. production.

to withhold a truth from:

However, | missed any physical
suggestion of the shifting sands.

Perhaps the set also created un-
solvable problems for lighting de-
signer Gerald King, but | hated the
eye-level reflections of lighting in-
struments and the exit signs in the
sky.

One final production note.
McNally says that the roar of the
ocean is steady throughout the
play and that, “sooner.or later
we will get used to it.”

Doubtless this would have been

“true if Cooper had trusted the

stage direction. We would have

“accommodated it, just as the

Trumans aad the Haddocks have -
learned to accommodate their

partners.

But just as importantly, the...
sound.is that of a primal, inex-

_ orable force grinding away th

molars of the world we all shat

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Her portrayal of a! lonely woman. at

“terrified of falling apart, of not be-”
ng abl
longer; is’ warmly movin a
Norman: Browning 5 Johe n, is, in

Conall this works and | ‘pro. /
ides'a solid chaise longue, from i

which to offer'the icily laconic and

ery. funny, commentary of a man:
who won't let people know him’ ’
‘they.won ‘tlike: him
However; Brownin (or Cooper)
Se isng John'so far] ack that.,:

nd most disappointingly no
eason.to believe that he is’
apable. of feeling, paradis
“also avery stilted kite
ve that should be full of

manic enetey ‘as John'races to stay.”

a life that hei is Jos-":

“homophobic New’ Jersey contrac-
or. with’a ‘husband. that neither,

sets up the macho:

kin Melons giving us his heartand
lacks the: ;

his quarreling. with johr
ntensity ‘of a'cuckold. «
The Playhase production is im

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