Love Lies Bleeding
By Don De Lillo
Directed by Michael Futcher
31st Oct - 23rd Nov
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The play concerns an artist named Alex Macklin in the last years of his life, and the effect his condition has on his son, Sean, and his second and fourth wives, Toinette and Lia, respectively. After a major second stroke, Alex is left in a persistent vegetative state and the other characters convene to reach a consensus about his fate. Sean pleads for mercy killing, arguing that his father is no longer alive except in a narrow technical sense. Toinette is sympathetic to this idea but later in the play evinces doubt and uncertainty about the metaphysical nature of their undertaking. Lia is initially opposed to the idea, arguing for a natural death without intervention, though later she agrees to Sean's plan to sedate and ultimately end Alex's life with the aid of morphine. The play also contains three scenes portraying earlier episodes in Alex's life with Lia and with Toinette.
Though written before the national debate concerning Terri Schiavo, the play predicts many of the questions central to that debate and is a powerful meditation on themes of mercy and mortality in the age of advanced medical technology. DeLillo has stated "I suppose this is a play about the modern meaning of life's end. When does it end? How does it end, how should it end? What is the value of life? How do we measure it?"
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CAST
Alex | John Stibbard
Alex in Extermis | Greg Gesch
Toinette | Helen Howard
Lia | Carla Haynes
Sean | Spencer Cliff
CREATIVES AND CREW
Director | Michael Futcher
Assistant Director | Tom Pocilujko
Stage Manager | Hayley Smith
Lighting Design & Tech | Madelyne Leite
Set and Costume Design | Ada Lukin
Composer | Zachary Miezio
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Ad Astra Original Theatre
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‘Once again, Ad Astra end their year with a poignant meditation on what it means to be alive (or not), as well as a conversation starter about medical autonomy and assisted dying.’
Backstreet Brisbane | Read Review Here
‘The theme of losing a loved one, and the difficult choices surrounding end-of-life care, is handled with sensitivity and respect. The play delves deep into these emotions, but the writing and direction bring a balance, with short, sharp scenes that focus on each character’s emotional journey. This structure keeps the play from feeling overwhelmingly heavy and instead leaves the audience with a contemplative satisfaction.’
Caroline Russo for Hush Hush Biz | Read Review Here
‘It’s been 15 years since the play premiered in Australia with Sydney Theatre Company, and while the subject matter may be grim, director Michael Futcher has done a fine job with it, helped along by some great performances from the cast…. It will certainly spark conversations post-performance around end-of-life care, an often avoided but ultimately necessary topic.’
Sarah Skubala for Theatre Matters Read Review Here
‘This is an intriguing and talent-filled production of New Yorker, Don De Lillo’s 2005 play. Directed by the experienced writer/director/performer, Michael Futcher, this streamlined two-act production perfectly suits Misterton Street’s intimate studio space. And the director has found a balance in the tone with some very confident and engaging performances which sway between the poetic and dramatic.’
Beth Keehn for Stage Whispers | Read Review Here
‘And with such well-acted realisation to provoke changing audience allegiances as more ethical arguments and had and made, Ad Astra’s production leaves legacy long after its conclusion.’
Meredith Walker for Blue Curtains Brisbane | Read Review Here
‘The direction in this play is flawless. Every movement, every nuance, every moment of silence and stillness is there for a reason. And yet nothing feels staged, nothing feels choreographed or forced. We see beautifully defined characters, complicated relationships between them and almost every emotion you could imagine.’
Susan O’Toole Cridland for Magic Ant Network | Read Review Here
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Love-Lies-Bleeding is a beautifully-written play which tells, in an achingly true way, the story of what happens when three people gather to decide the fate of a man who has suffered a catastrophic stroke. Should he be allowed to live or die? Who takes responsibility for the decision, and in whose best interests is the decision being made? When I first read the play I was immediately struck by the compelling and uncompromising nature of the subject matter – when asking myself why put on this play and why now, the answer couldn’t have been more simple: The central theme of this play touches us all and it will be ever thus. Losing someone close will happen to everyone – maybe sooner, hopefully later, but it will come. It is a universal rite of existence and how we face it is one of the most important tests for any individual. This sublime play explores how we attempt to deal with this inexorable moment, and how we come to terms with ourselves, and the people around us (however painfully), in the process.
Don DeLillo’s writing is a dynamic mixture of brilliant observation, spare poetic dialogue and the odd wickedly hilarious turn-of-phrase, wrought with a supremely deft and sensitive hand. The challenge for actors and director is immense. The play takes no prisoners. Detail is neglected at your peril. DeLillo provides no cheap or easy answers which pander to the dopamine hits of our expectations – he eschews all these with a voice which comes from a very deep and fascinating place somewhere in the chamber of his unconscious. He deals in parallel stories, symbols, odd connections, which we are challenged to try to piece together, like detectives. If we follow the clues and enter his world patiently, with an open mind, the riches are waiting for all to experience. And they are rare and rewarding - and often surprisingly funny. Like many of the greatest master playwrights DeLillo avoids wrapping up his theme or “point of view” into a simple and easily digestible “message”. Instead he presents the characters in the midst of their inner and outer dilemmas and asks us to interpret and if necessary, judge for ourselves. That is how I believe theatre is best served and it has been an absolute honour and delight to delve into and share this important story.
Michael Futcher
Creatives & Crew
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Production Photos
Photography credits go to Barbara Lowing
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