Night Out At: The Moon Isn’t Everything

The Moon Isn’t Everything A Short Play by Wes Williams

With Original Music from Nicola Hardman

Arts Bar Studio 3 Theatre

Thursday 4th April 2024

By Ted Grant

Siobhan (Katie Wellman) and Ben (Jonathon Ali) are sitting at a table strewn with unfinished alcoholic drinks and a framed photograph we can only see the back of. Ben’s staid suit, complete with black tie, confirms that this is not a happy occasion. They raise a glass ‘to Sam’ before Siobhan bemoans the meagre turnout at the crematorium. Ben is more sanguine, citing people’s ‘busy lives’ for the poor showing at his younger brother’s funeral.

The atmosphere is understandably solemn, but also tense. Mourning a loved one is difficult but a loved one who is young and takes their own life brings a certain emotional weight that is difficult to comprehend and navigate for those left behind. Our characters’ hurt is shot through with feelings of confusion, regret and anger. Recriminations abound with the yet to be seen ex-boyfriend Mikey bearing the brunt of Ben’s ire, “he’s probably fucking somebody else over, it wouldn’t surprise me”, before turning the anger on himself, “Sam didn’t deserve any of this and I know I’ve let him down”.

Siobhan’s boyfriend, Frank (Chris Hogan), brings a new dynamic to the proceedings as he clumsily tries to lighten the mood with quips and matter-of-fact statements, met with incredulity by Siobhan. The awkward, tragicomic milieu of the funeral reception is beautifully realised by Williams’ writing and Hogan’s nuanced acting. Mikey’s (Jack Waterhouse) appearance lights the blue-touch paper. If anyone is to blame for Sam’s death then it’s him. There is a tete-a-tete between Ben and Mike with some strong muscular acting from both, particularly from Ali.

Much of the drama is presented in monologue form as each character takes it in turn to vocalise their internal thoughts about Sam and their relationship with him. We see varying emotions and styles. Siobhan’s second monologue is particularly affecting and is skilfully done by Wellman, making strong eye contact with members of the audience, desperately seeking solace in unanswerable questions. Frank’s monologue is also a highlight. Whilst I struggled to be entirely convinced by the plausibility of the revelation, it was nevertheless very nicely played by Hogan with interesting questions raised around sexuality, promiscuity and masculinity.

Through each monologue, we learn more about the dynamics between the characters and their relationship with Sam. Their regrets, secrets and deep-seated feelings are unearthed and more information about the complexities of Sam’s plight is brought to life. Mikey, who until this point, has been public enemy number one, gets to tell his side of the story revealing, in a difficult and emotionally charged address how he couldn’t “scale the wall Sam had built around himself”.

My quibbles are around the structure of the piece rather than the content. I felt it was weighted slightly too heavily in favour of monologue over dialogue. I understand the need to portray the innermost thoughts of these characters and have much of the drama centred around the hitherto un-said but I think, perhaps, it would have been nice to have seen more of the revelations and thoughts brought to the fore through conversation, with some of the dynamics between the characters we see being developed more. Ending on Mikey’s monologue was an interesting choice, but I yearned for something more akin to a group catharsis, with perhaps at least the potential to heal some of the wounds left in the wake of Sam’s death. I think the play could have stretched to another ten minutes or so, which is testament to how good the piece was.

The Moon Isn’t Everything is a brave, engaging and thoughtful drama that poses interesting questions around identity, sexuality and mental health. About how young people, young gay people especially, can feel isolated and marginalised in society. Williams tackles these subjects unflinchingly via an adroit and measured script. Nicola Hardman’s introductory song was beautifully performed and entirely in-keeping with the drama that ensued.

All in all, this was an excellent drama. Superbly written with a very strong cast skilfully directed by both Williams and Jane Rhodes. Another provocative and compelling piece of theatre with vital LGBTQ+ issues at the forefront. Long may it continue.