The production's structure as three distinct yet connected pieces allows the audience to witness a gradual transformation rather than a sudden revelation. Beginning with a haunting film of Issaoui moving through natural landscapes, the work establishes its surreal visual language before transitioning into a live performance that maintains the same otherworldly quality.
The complete absence of dialogue proves not limiting but liberating. Issaoui's movement vocabulary speaks with remarkable eloquence, conveying complex emotional states using physical metaphors that feel both precise and poetic. Her circular pacing creates a hypnotic rhythm, drawing on centuries of meditative states, while sudden shifts in energy mirror the unpredictable nature of a psychological transformation.
Water serves as both a literal and symbolic element throughout the performance, building from a subtle presence, and ending with complete saturation. By the second act's conclusion, Issaoui is thoroughly soaked, her physical state reflecting the emotional immersion the work demands. The use of chalices suggests a ritual purpose, while the splashing perhaps creates moments of baptismal renewal that feel earned rather than imposed.
The lighting design deserves special mention as a genuine creative collaborator. Working in dynamic partnership with Issaoui's movement, the lighting creates an atmosphere that guides emotional transitions while providing moments of revelation through strategic strobe effects. These brief illuminated glimpses feel like fragments of memories, surfacing from unconscious depths for a mere moment before disappearing.
During the costume change (necessitated by the water-soaked garments), lighting and sound play an integral role, continuing the performance independently, presenting abstract visual compositions that maintain the atmosphere while providing practical transition time. These moments of pure technical artistry demonstrate an understanding of how all production elements serve the work's spiritual journey.
Similarly, the soundtrack proves equally essential, creating audio that in tandem, supports Issaoui's movement. The sound and visual elements achieve a fusion where different artforms amplify rather than compete with each other.
The trilogy's emotional arc from yearning through confrontation to transformation feels authentic rather than programmatic. "Ode To My Soulmate?" establishes romantic longing, while "void..." confronts grief and loss with unflinching honesty. The final section, "Once in a Blue Moon," achieves genuine transcendence through a ritual that honours both a personal journey and a universal experience.
Issaoui's complete commitment to the work's physical and emotional demands creates the vulnerability necessary for mystical theatre. Her tears during the final bow on opening night felt like a natural conclusion to an authentic spiritual journey rather than a mere performative gesture.
The intimate setting of PYT Fairfield proves perfect for work that is this personal and intense. The close proximity allows the audience to witness subtle emotional shifts while creating the communal atmosphere essential for witnessing a ritual. This isn't a performance to be simply watched, but rather a transformation to be witnessed.
Ultimately, Once in a Blue Moon succeeds as both an artistic achievement and a spiritual offering. Issaoui has created a work that honours the mysterious nature of transformation while making enriching theatre. This is a perfect Sydney Fringe performance, engaging both heart and spirit alongside intellect. A genuine encounter with the sacred through secular means.
Once in a Blue Moon continues at PYT Fairfield through 7 September as part of Sydney Fringe Festival. Tickets and more info: https://sydneyfringe.com/events/once-in-a-blue-moon/
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