Summary Of The Far Side Of The Moon

Written and directed by French-Canadian artist Robert Lepage, the semi-autobiography, The Far Side of the Moon, voices the story of two estranged brothers Philippe and Andre who are forced to deal with the aftermath their mother’s recent death. Containing an original music score composed by Laurie Anderson, along with others, The Far Side of the Moon delivers winning performances to not only its worldwide audiences, but to its recent Adelaide audiences as part of the 2018 Adelaide Festival. Premiering in Quebec City in March 2000, The Far Side of the Moon has since been presented in over 45 cities around the world. French-Canadian performer Yves Jacques skilfully executes an excellent solo performance. He delivers a strong physical presence
Imbedded into the plot was the theme of reconciliation and rivalry between the conflicting attitudes of Philippe and his younger brother Andre. It is this conflict and rivalry between the brothers that act as the perfect metaphor, mirroring the 1950’s space race, and echoing the conflict between capitalist America and Soviet Russia. The overall outlook of the space race is deeply rooted within the subplot of the whole production, with merges of original 1950’s NASA footage being added to support the subtext, add contrast and display significant moments in history. The impressive use of puppetry was also an element that supported and added a whole other dimension to the production. Puppeteer Eric Leblanc operates the diminutive puppet figure in a cosmonaut spacesuit who occasionally represents Alexei Leonov; the man who carried out the first spacewalk in 1965. However, it also stands as a double metaphor depicting the trivial existence of mankind in the universe and, the physical representation of a child. Lepage’s objective in creating a nostalgic effect on the audience as to the mystery behind the moon, and likewise, the significance of the lunar landing was thoroughly executed. The moon’s significance was also reflected in the story where Philippe mentions where it acts more than
His transition from character to character was not only swift but smooth, subtle and convincing. His ability to change physicality and vocals with each character and their supporting costume was successful and delivered an enjoyable performance. Although the dialogue was one-sided, the audience was still able to follow the heading of the play. In one scene, Jacques’ character change from Doctor to Philippe was so smooth that he simply had to change costume and transform from the Doctor’s poised physicality to Phillippe’s shy and timid shell. Jacques also excelled during his comedic moments on stage. A particular highlight was when he played the mother holding the puppet’s hands as if it were an infant’s. Not only was this a significant moment in the play, it likewise added a comedic effect as viewers got to see a grown man dressed in an “old lady’s” costume. Jacques portrayal of physicality on stage was excellent. His movements were light, sustained and free, mimicking a woman as he glided across embracing the stage space and interacting with onstage props. His physicality along with the slow trumpet music and dim stage lighting complemented each other, creating a surreal atmosphere, flashbacking audiences to the past before the death of Philippe and Andre’s