The fringe is the natural home of experimental theatre, so Passing Moustache is a good option for inclusion. It is, however, author Edward Gray’s first full-length play, and he does not resist the temptation to gild the lily.
The play comprises a series of duologues, each framed by a monologue at the beginning and end, with an overarching theme. Change is the main theme and is represented by frequent use of the sea and seaports as symbols or facilitators of transition. The sound of seagulls and crashing waves is present throughout the show.
An unusual feature is that, although different characters perform the monologues, the same words are used every time. There is concern about being locked in, confusion about identity, a longing for happiness and a willingness to induce it via medication and an ambition to grow a flamboyant moustache, which is seen as a way of expressing disdain for conventional attitudes.
Initially, this unique approach works very well—the characters reciting identical words illustrates they all face the same challenges, while the duologues clarify how they address them in their own way. Alec Marriner (Cory Sapienza) is a GP who has transitioned from female to male. Barry Black (Mark Prescott) a patient who, having ignored prostate symptoms, now must come to terms with erectile dysfunction (whatever that is). His wife Cee Green (Michelle Phillips) not only has to take an understanding attitude towards her husband but also deal with challenges from her profession.
However, author Edward Gray ostentatiously draws attention to the sea themes by twisting the dialogue to constantly refer to tides, seaports and water or via pun-based wordplay ("I see the sea in you"). This gives the show an artificial atmosphere, which director Merv Jones is not able to tone down enough to anchor the play in reality.
Had Passing Moustache concluded after the initial scenes, it would have been a challenging but fulfilling play. However, it moves towards obscurity when the storyline is filtered through the perception of a pair of mentally ill patients. Some scenery-chewing performances and broken and distorted dialogue makes it very hard to follow the plot. The play never gets back on track. A breast-obsessed, foul-mouthed teacher-to-be may be intended as comic relief, but the role does not really work.
Passing Moustache shows promise and features some innovative techniques, but in its current format is too long and self-indulgent to be completely satisfactory.