‘Skating In The Clouds’ // Theatre Works
‘Skating In The Clouds’ was thoughtful.
Have you ever been caught up in a sense of complete transience? In a state where words have no meaning? Where you are only able to sense the sounds of nature slowly deteriorating with the impacts of climate change? ‘Skating in the Clouds’ explores the aforementioned, but most importantly it talks about a phenomenon so profound, the fact that sometimes two people have two ways of perceiving the same situation.
‘Skating in the Clouds’ is the story of a St Kilda couple, two women so disillusioned with reality that they are seemingly skating in the clouds. Their bizarre behaviour, mannerisms and speech are instantly captivating. They talk repeatedly, though their conversations are in total conflict. They plan their seventieth birthday party, they wish to turn their living room into an ice skating ring and host a celebration resembling The Dinner Party by Judy Chicago, with its guest list being influential women. In the meantime, they converse about a leak in the roof that does not exist, a mountain that never stops leaking, a bird named Frida Khalo and the plants outside their window, which wilt every day because of climate change. Nevertheless, their lives stagnate.
Sometimes it’s hard how these two can coexist in a loving relationship. Previously, playwright Claire Mendes has written screenplays for Neighbours and similar and has recently premiered on the stage. Mendes has written a script for a specific community, in this case, older women but has a very universal appeal. ‘Skating in the Clouds’ is certainly an absurdist script, and sometimes absurdism leaves us with a glaring conundrum. Despite not being depicted in this script, I found myself in it. As we transcend through time as people, we become connected to the places and spaces around us, Mendes’s script, particularly her writing style discusses this beautifully. Specifically, what Mendes presents poetically is our connection to the natural world. The sounds of birds, the smells of plants and trees, the warmth of the sun and coldness of ice, and the sometimes irritating and somewhat melodic sound of water dripping. What I took away from this play is that we are just people on a journey through life, we might be unremarkable, but we do have an impact on those around us.
What Mendes also depicts strongly is conflict in relationships. One wants to “up sticks” and the other wants to stay put, both have understandable reasons why. Having been in this situation, I could relate deeply to this conflict and empathise with both protagonists. Mendes must be praised for how she included an interluding sub-plot (Shamita Sivabalan and El Kiley) which transcended between interweaving and being unrelated to the main script.
There is beauty to be found in the menial. Life in St Kilda, particularly back in the retro days was exceptionally well depicted, with references that I instantly grasped. There is no doubt Mendes has offered a good script with many strengths, though there are times when the dialogue, the focal point of ‘Skating in the Clouds’ drifts into just words. When I first noticed this, I interpreted it as a unique and effective means to communicate the banal, though as the script progressed, I felt the plot was not moving along. The two main characters stood indecisive, repeating the same conversations with no resolution. It almost felt as if the play began and concluded throughout its duration. Rectifying with more progression and thorough analysis would have transformed this script to an exceptional standard.
The direction of Emily Farrell for ‘Skating in the Clouds’ shone. The very deliberate absurdity of the script came to life through a comically oversized spanner and the logistical challenge of transforming one’s loungeroom into an ice-skating ring. The physicality and movement of Summer and Autumn were perfect, instantly recognisable as a family friend and mother. Scenes depicting Summer (Katrina Mathers) and her children, who criticise her for not fighting harder for climate justice when she had the chance. Farrell effortlessly depicts alien absurdity with the very real protagonists and very real challenges of climate change. What Farrell does depict in an exceptional manner are the very real emotions caught from the unreal and jarring imaginations of Summer and Autumn. The fear of a never-ending drip almost took me by mistake, I believed it was real.
Throughout, there was a beautiful soundscape by Sharyn Brand which featured the sounds of birds, gusts of wind, classic disco and an ever-dripping tap. Brand’s work was exceptional. It added an additional facet of communication as we were able to sense the innermost thoughts of the characters. Similarly beautiful, was the muted, pastel lighting design, by Natalia Velasco Moreno. The stage, set by Bianca Pardo which we were welcomed into consisted of a daybed with a piece of beautiful fabric draped over equally representing both the Bohemian St Kilda and yurts of Kazakhstan. The costume design delightfully depicts the free-spirited Summer in her flowing dress and rugged Autumn, in the recognisable clothing of a blue-collar environmental scientist. I also enjoyed the overalls in lieu of drama neutrals which fit the overall theme of the performance well.
‘Skating in the Clouds’ is a thoughtful show. It leaves you with many profound questions and not many answers, though I think this is a positive aspect. It is certainly a strong end to the Theatre Works 2024 season and I am excited to see where this show leads.
‘Skating in the Clouds’ runs until Saturday, 14 December 2025 at Theatre Works. For more information, visit their website.
