A Heartfelt Play that Brings Visibility
There’s a book called “It’s OK that you’re not OK” by Megan Divine. It is about grief and how a grieving person navigates society. The essence of Divine’s book came back to me in Scripps Ranch Theatre’s latest play, “Donna Orbits the Moon”, a one-hander where playwright Ian August tackles grief with Donna, played by Susan Clausen.
Donna is a wife, a mom, and a baker. Everybody knows her from all the baked goods, and she is in all the sales. One day, she hears astronaut Buzz Aldrin‘s voice telling her to “go up before you can land“. Surprised and not understanding why him and why that phrase, Donna continues about her life. A series of hiccups takes place while Donna shares her day-to-day. The play then not only has a resolution but a collective catharsis.
I will just come out and say that Susan Clausen is an absolute talent and one of the best that we have in San Diego. She rations her histrionic work by going on the boards about every three years; when she does, it is a whopper. Directed by Kandace Crystal (another San Diego talent), the rhythm and synchrony of Donna’s story, and how it is unveiled little by little to the audience, is immaculate. Crystal has Clausen using all the space back and forth actively, so she goes, goes, goes with mannerisms, a thick accent, courtesy of Rhiannon McAfee, and mean physicality, having the audience truly “bond” with the character while following her literally and figuratively. Kandace also oversees the wardrobe and includes casual pieces like jeans and sweaters, with others on the side that complement the story with a change or swap.
Duane McGregor created a universe that weaves Donna’s home, her world, and her baking, sprinkled with a little bit of outer space, and pairs it with Ted Leib’s sound and projections to truly bring the audience into Donna’s head and feel. She is not the only one who hears Aldrin…
Mashun Tucker’s lighting guides the scenes and gives each a distinct character, even though there is only one person on stage. All the creative elements come together harmoniously.
The play is 90 minutes long, with no intermission. It is a lovely piece with a powerful and heartfelt message. It also brings visibility.
I sensed a foreshadowing midway; I sort of knew where the story was going. But the playwright probably sensed that too and integrated such a precise description of what comes with grief: A cascade of unspoken, unseen feelings… and I had to catch my breath. That will probably be the effect for you, too, dear reader.
I suggest you have something sweet, hydrate, and bring tissues.
Currently playing until February 15. Madison Mercado is the Stage Manager for this production.
