Dunedin, New Zealand
Sarah Ruhl is a poet. No word or comma is misplaced. If you don't pay close attention to her precise prose, you'll miss something... which would be a shame, because every line can be a sharp instrument that cuts open untranslatable bits of humanity.
The play centers on a driven, middle-aged doctor named Lane, her lonely sister with a cleaning fetish, her husband who suddenly finds his soul-mate (a terminal patient of his), and her Brazilian maid, Matilde, a comedian who's depressed by cleaning. It could be an episode of a sit-com, but funny though it is, it's an existential work of magic-realism: delightful, unexpected, and utterly universal. My kind of play.
It might be because I married a doctor, but I absolutely love The Clean House, and I'm so fortunate to have been asked to bring it to New Zealand. My first foray in the Southern Hemisphere turned into a rousing success, in no small part to the support of Janice Marthen, and the Fortune Theatre's talented design and technical team who met my overwhelming demands with pluck, grace, and creativity.
Scenery | Peter King
Costumes | Maryanne Wright Smyth
Lighting & Sound | Ulli Briese
Production Management | Alan Surgener
Set Construction | Penny Ungreek
Stage Management | Brendan van den Berg
Lane | Jude Gibson
Virginia | Hilary Norris
Charles | Phil Darkins
Ana | Jen Wolfe
Matilde | Anna Henare