Sweet but unfulfilling
Canadian classic Salt-Water Moon written by David French gets its UK debut 38 years after its Canadian one. Directed by Peter Kavanagh this one act, two hander is a romantic exploration of young love in post war Newfoundland.
Salt-Water Moon is the first play of a series based on this relationship. Often with a collection, viewing as a whole usually improves context and I would be intrigued to see if the further plays solidify/improve the narrative of the first paper=.
French’s script is peppered with conflict and storytelling but ultimately belies the truth of the characters – with writing much older than the character’s years of 17 and 20. Although emphasising the maturity of the times, particularly young women in service having to grow up quickly, Mary’s character acts and speaks with a grounding unrecognisable in teenagers – initially I would have placed the characters in their 30’s. McKenzie (Joseph Potter) is spoiled and demanding but ultimately charming where Snow (Bryony Miller) is the withering wronged woman. The most engaging parts in the script come from the moments of witty back and forth showing a history and relationship. What the play does successfully illuminate are the gender and class politics of the time, exploring servitude, education, marriage, gender and poverty.
Finborough Theatre though is the perfect space for this charged two hander, the set from Mim Houghton is simple yet effective. A love seat bench, small table and gravel floor. The sky and stars implied by flickering light bulbs – particularly beautiful programming when searching for a blue star and some turn blue. Sound design also simply implies the era and location without disrupting the scene.
Director Peter Kavanagh has done a good job with the dated script but sadly what seems missing throughout is chemistry and joy. Miller as the scorned woman lacks warmth or any real draw to Potter who’s ego and aggression wouldn’t enamour many to him. Potter does well with the entitled character but the monologue flashback stories are written so indulgently that it’s hard for him to play against their dramatic tendencies. Potter also shines in when storytelling and letting his charm overtake the story – these are highlights in an often dark retelling. Both actors are particularly masterful when it comes to the uniquely challenging Newfoundland accent.
Overall the piece has moments of sweet connection but the speed and pressure works against the conclusion, leaving the audience wondering what would drive this 17 year old who shows no warmth to McKenzie to choose him over a more suitable match.