It is remarkable how moving a play can be when there is no dialogue. Womb Tide touches in deep places because the various elements of the play are so considered and work together so well.
Lara Foot wrote the script - a simple story of loss and redemption. The simplicity of script (stripped of all dialogue) is beautifully handled by Daniel Buckland and Liezl de Kock - such an expressive range of feelings from the very funny first fumblings of their relationship to heartbreaking and tender scenes.
Of course, no FTHK production would be without a puppet: the Womb Tide puppet is made by Cristina Salvoldi, brought to life by Emilie Starke and Kim Kerfoot, becoming an integral part of the action.
The set, by Craig Leo, cleverly evokes the era of "sunny skies and Chevrolet" by using piled-up cardboard boxes and the swing is used to fabulous and varied effect. (The mobile in the Baxter foyer is wonderful and is especially meaningful after the show, when we recognised the various props.)
The sound, by James Webb and Bryndon Bolton, is evocative and effective - in some places a metronomic tick tock makes us all too aware of time passing; the radio springing to life in a happy song underlining the contrasting feelings of the action - without words, one is far more aware of sound.
Rob Murray directs, and brings the various elements of this show into a deeply moving production.
I was delighted, charmed, impressed, moved. What can I say ? I fell in love again with this fresh and physical production from FTHK. Womb Tide is their best!
Photo by Michel Béga
Womb Tide runs at the Baxter Theatre's Golden Arrow Studio till the 4 December.
