Written by Jessica Moss
Directed by Yuqun Fan
Produced by Rebecca Dilg
Performed by Paulina Brahm, Marta da Silva, Sharon Drain, and Tammie Rhee
18 – 29 September 2018
I Will Miss You When You’re Gone is a new play written by Canadian playwright Jessica Moss. Starring four women and a roomba, this 75-minute piece follows two living characters, Robin and Celeste, who are being haunted by their erstwhile colleague Evelyn and Celeste’s mother Theresa – but not necessarily in that order. A comedy which is alternately dark and sweet, this play explores such heavy topics as suicide, grief, depression, anxiety, isolation, and workplace bullying.
As is usual in pub theatre, the set was small and simple, which worked well for this intimate and personal story, and increased the effectiveness of artistic touches such as the costuming of living characters in sterile white but dead ones in vibrant colours. The soft Canadian accents and quips about Toronto made for a refreshing change of setting. However, the heavily 60s-styled costumes contrasting with references to BuzzFeed and Game of Thrones threw me somewhat. Similarly distracting were the frequent scene changes – often abrupt, awkward, and graceless, with very little in the way of transition. This could have easily been alleviated by simple use of sound, lighting, and/or movement, and is something that director Yuqun Fan should remedy for future productions.
The highlight of this show is definitely its excellent cast. Marta da Silva as Evelyn was the standout performance, channeling a fierce Gina Linetti vibe and juggling both pathos and comedic snark. Tammie Rhee was also excellent as the bureaucratic boss Robin, and Sharon Drain brought a wonderfully warm presence to the stage as mother Theresa. Although not as strong as her castmates, Paulina Brahm provided a relatable character for a millennial audience in the form of Celeste, an underachieving, under-confident intern struggling to cope with adult life. I was, however, confused by whether this character was supposed to be developmentally delayed or not; her ineptitude, naivete, and lack of social abilities was regularly the butt of jokes, but Celeste herself angrily protests at one point that she’s “not retarded”. This casual throwaway use of a slur seemed at odds with a story about treating others with empathy, and being sensitive to issues of mental illness.
Overall, I Will Miss You When You’re Gone felt like a 75-minute riff on an interesting concept which wasn’t really developed enough to carry the length of the show. As a result, too many complex themes were introduced superficially as filler material, while plot holes and questions of world-building were left unanswered. However, this and the weak characterisation of the play’s central character were leavened somewhat by the excellent performances and compelling arcs of its supporting figures, as well as a number of clever gags. With some rewriting, condensing, and slicker directing, this show could be a very effective and enjoyable Fringe-sized piece.