“Death leaves a heartache no one can heal, love leaves a memory no one can steal.” –Anon
Whether we strengthen ourselves against it or just fall further into an abyss, grief is eternal. In Matt Cameron’s Ruby Moon, grievance is the driver of the dramatic action, which causes a manifestation of intricate, façade-like characters. However, these characters are irrelevant when clarifying the core of the text: Ray and Sylvie’s grief. The play also establishes grief’s impact on the strength and limitations of relationships, as well as grief’s hideous perpetuation by living in a suburban area.
Ruby Moon follows the lives of Ray and Sylvie Moon, a couple experiencing perpetuated grief after the weeks following their little girl’s abduction. In a final act of desperation, the couple interrogates the neighbours on the whereabouts on the day of the abduction, following a trail of unreliable clues, only to trace them back to where they came from.
In our duologue interpretation, my partner and I decided to encapsulate the very stem of the play: Ray and Sylvie’s grief. In my understanding of the script, the neighbours are manifestations of the grief shared by Ray and Sylvie, facades which are made to present grief in a new, disturbing and controversial way. Our duologue was derived from the ‘in-between’ scenes, depicting the degradation of Sylvie and Ray’s life as they struggled to deal with the loss of their only child.
In comprehension of the couple’s grief, we can divide it up into stages as suggested by the Kubler-Ross Model (AKA the Five Stages of Grief). When faced with grief, the Kubler-Ross Model predicts that the victim, or in this case victims, will experience two or more of the following stages: Denial, Bargaining, Anger, Depression, and Acceptance. Throughout Ruby Moon, Ray and Sylvie experience what is called a ‘rollercoaster effect’, switching between two or more stages, returning to one or more stages before fully working through it.
Our piece was divided...