Writer: Dominic Luk
Published: Fri, 01 Mar 2013
Ruby Moon is a 6-year old who, in the play, sets off to visit her grandmother but is never seen again. When an ominous parcel arrives on her parents’ doorstep, Sylvie and Ray Moon are prompted to call on their enigmatic and eccentric neighbours in an attempt to solve the mysterious disappearance if their daughter. Directed by klpac’s Co Associate Artistic Director Christopher Ling (who also directed Dead Man’s Cell Phone, The Last Five Years, Kiss Of The Spiderwoman), the play will run from Feb 28 to March 3, starring Davina Goh and Alex Chua. Christopher Ling trained in Drama and Theatre Arts at Middlesex University, London and with the National Youth Theatre of Great Britain.
Selangor Times spoke to Christopher Ling to find out more about his latest work.
ST: To you personally, what is Ruby Moon about and what drew you to the story?
Chris: Ruby Moon is about parents Ray and Sylvie Moon who have been living an idyllic existence right up until the day that their only child Ruby disappears on her way to a routine visit her grandmother. The dynamics of the relationship have dramatically shifted. Grief has overwhelmed love and they are left trying to salvage their marriage in whatever way possible.
I love to stage stories that deal with what it makes us human. And it should not come as a surprise to say that I find a greater affinity with the “unhappily ever after” type stories more frequently. Ruby Moon fits the bill perfectly.
ST: How long have rehearsals been running with Davina and Alex? And how has the rehearsal process been so far?
Chris: We began rehearsing Ruby Moon in December last year. The rehearsal process has been a very rewarding one principally due to the fact that I have had the privilege of working with established actors as Davina and Alex. It is very gratifying to know, at this stage of rehearsal, that very few stones have been left unturned in the creation of these characters and the world that they inhabit.
ST: How should audience members prepare themselves before coming to watch Ruby Moon? And what are you expecting the audience to feel or learn after watching the show?
Chris: The audience need not feel that they need to prepare themselves prior to coming for the performance. Part of the magic of theatre is to be able to walk into a theatre - without any overtly pre-conceived ideas about what you are going to see - and surrender to the journey that the actors, playwright and director want to take you on.
Ruby Moon is a very unsettling play to say the very least. But it is also an excellent example of the “Theatre of the Absurd” genre. As such, the promise of dark humour is always around the corner. An intriguing mix, don’t you think?
ST: What has been the most challenging thing for you while staging and directing Ruby Moon?
Chris: The issue of missing children has been in the national spotlight of late and that certainly has had a diet effect on what we are presenting with this play. I first got to know about the William Yau case via a Facebook posting of his mugshot on a poster. What bowled me over was the fact that William was 6 at the time of his disapperance which is coincidentally the same age our Ruby is when she disappears.
I decided to stage Ruby Moon in September of 2012 and, as such, this staging of Ruby Moon should not be considered as an official response of any sort to recent events. But we, as a production team, have certainly been more diligent in ensuring that our tackling of this issue is done as responsibly as possible.