In a world devastated by the apocalypse, where water has become the new currency of human exchange, the survival of those remaining on earth hinges on their resourcefulness in securing necessities.

The Last Drop portrays life after catastrophe, where the value of life diminishes for those reliant on essentials like water and food. The play resonates with contemporary themes of economic turmoil, environmental crises, and cultural conflicts, evoking a deep sense of empathy and connection with the audience.

Scena Theater presented the world premiere of The Last Drop, written by Australian playwright John Shand and directed by Robert McNamara, at DC Art Center in April and May.

The Last Drop, Scena Theater, written by John Shand and directed by Robert McNamara, at DC Art Center.

The play is set amidst a desolate sand dune. The story follows Mary (Stacy Whittle) and Joe (Robert Sheire), a couple far from civilization, struggling to survive on meager and primary resources. They eat moths and extract potable water from a basic still machine. Water, the most vital element in life, now has the role of treasure. To fulfill this everyday task, Mary fetches water by the handful to the still machine, and Joe processes the making of drinkable water. However, lacking even basic amenities in their life, such as a bucket to carry water, underscores the harshness of their circumstances and casts a shadow on their relationship. The topics of conversations between Mary and Joe are either the bitterness of life and the failure of human beings or their unreachable simple dreams and desires, which adds to their depressive mood. Believing themselves to be the sole remnants of humanity, Mary and Joe’s isolated existence gets disrupted by the intrusion of Valentino, an imposter trader in his splendid plaid style suit, and Esmeralda in her tasteless, tacky dress and exaggerated makeup, who is Valentino’s accomplice and whore. From this scene onwards, the dark nature of humanity is brought to light. Valentino offers Joe to spend one night with Esmeralda in exchange for potable water. This offer reveals the murky side of Joe’s character. He accepts the offer without any hesitation. He doesn’t even consider the presence of his wife, Mary. Moreover, Valentino manipulates Mary and pokes her vulnerability. Being in a fractured relationship with Joe, Mary has to fulfill Valentino’s wishes and sexual desires.

The Last Drop, Scena Theater, written by John Shand and directed by Robert McNamara, at DC Art Center.

The play’s absurd situations add to the plot’s complexity and highlight the fragility of relationships in the face of extreme adversity. The seamless integration of humor in the dialogue enriches the thematic layers that Shand explored in writing the play. Director of the play, Robert McNamara, enhanced the performative aspects, such as acting, light, and set design. As a directing choice, when the characters delve into their thoughts and have opinions about their situation, they break the fourth wall and face the audience. Light changes follow such situations according to the scene’s mood.

The lighting design by Marianne Meadows enriches the mood and characters’ dynamics through subtle shifts in color, adding depth to the visual experience. The light intensity and color changes also add to the effect of freezing moments in the play as another way to approach and communicate with the audience.

The scenic design by Carl Gudenius in this Scena Theatre’s production is simple yet impactful. It distills the essence of the play to its core elements. The expansive dune made by cascading curtains evokes a vast and haunted landscape, which was a smart choice for the small stage of Scena Theatre.

The Last Drop, Scena Theater, written by John Shand and directed by Robert McNamara, at DC Art Center.

The Last Drop has a thought-provoking narrative that reflects on the complexities of human behavior in times of crisis, brought to life by a creative team.

This post was written by the author in their personal capacity.The opinions expressed in this article are the author’s own and do not reflect the view of The Theatre Times, their staff or collaborators.

This post was written by Azadeh Kangarani.

The views expressed here belong to the author and do not necessarily reflect our views and opinions.