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Ruby Moon

Playwright: Cameron, Matt
Year: 2003
Type: Play
Edition: Playbox, 2003. Currency Plays, 2005. 

Synopsis

Life appears to be picture perfect in Flaming Tree Grove. At least until little Ruby Moon sets off to visit her grandmother and 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 mystery of their daughter's disappearance. But life behind the average suburban front door is not what it seems. Ruby Moon is a fractured fairytale from the dark heart of suburbia. 

Narrative Locations

Flaming Tree Grove, Melbourne region, Victoria  

Temporal setting: Circa 2000

Location notes:

The narrative of Ruby Moon takes place in the fictional Australian suburb of Flaming Tree Grove. The set is designed to represent "a timeless, placeless world", with the action moving fluidly from the street to the interior of homes on a cul-de-sac. 

Coordinates are given for Hawthorn in the inner suburbs of Melbourne. This choice is based on playwright Matt Cameron's imagining of the setting. "Overwhelmingly the street felt to me like a street that probably looks picture-perfect during the day but at night suddenly becomes frightening and portentous. I grew up in the sad, bare outer suburbs [of Melbourne]. This particular image, though, was probably more inner suburban with old deciduous trees, a really established suburb." 

(http://australianplays.org/assets/files/resource/doc/Ruby_Moon_Matt_Cameron_Interview.pdf)

The interior and exterior spaces in Ruby Moon are not distinct from one another. The set and plot intentionally blur the action as it moves from space to space. The presence of the exterior street- the dead-end street- pervades all interior action, with characters constantly looking outwards, at the street, at the night, for Ruby. 

Quotes

A timeless, placeless world featuring an armchair, standing lamp, rocking horse, gramophone, telephone, answering machine and coat stand with various garments. The furnishings are antique in a room evoking dust-covered memory. Upstage is a blood-red velvet curtain and scrim, allowing objects to 'appear' and 'disappear' with light. There is also a street lamp and the bare branches of blackened trees pointing like gnarled fingers through a vivid night sky. A full moon hovers. 

(p. 1)


RAY:"... Cicadas pulsed in the shimmering heat

Concrete was caramel under your feet and

The ice-cream van turned slow motion into the dead-end street."

(p. 5)


SYLVIE: "They're trying to break us. Someone has our answer, Ray. We have to keep going. The further down the street we go, the closer we get."

RAY: "But it's a dead-end street.

He embraces her, clutching her to him.

What are we doing? What are we doing to ourselves?"

(p. 34)





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