Sydney Theatre Company Resident Director Kenneth Moraleda reflects on creating his new production of 4000 Miles...
The cornerstone I cling to with 4000 Miles is a contemplation of the distances we traverse, both physically and emotionally, across our lifetimes. Our paths can diverge, time and space can expand the chasms of connection. Yet those paths still lead us back to those who ground us. In Amy Herzog's beautifully crafted narrative, Leo’s cross-country bike trip – a quest for clarity and connection – crashing into his grandmother Vera’s apartment, creates a powerful intersection of two lives, each marked by struggles and resilience.
Herzog drew inspiration from her own family in the writing of this play, which embeds this fine character study with delicious language twists, quirks and specificity. The characters’ interactions afford us complex dynamics in familial and intimate relationships to navigate. Along with After the Revolution an earlier companion piece, this play gifts us details that revel in the texture of humanity – ambiguities, messiness, clarities, clashes, and pockets of commune and joy.
It's been such a treat to share this process with Nancye and Shiv who bring such expertise and heart to Vera and Leo, supported so adeptly by Ariadne, Shirong, and Valerie – all enriching these beings with their vulnerability and boldness and humour.
The honesty of naturalism guided us in the set and costume design. The intimacy of Vera’s New York City apartment serves as a character in itself. Jeremy, with the support of Emma, has given us a space to play with, a space laden with memories, treasures, etchings of well-worn paths, and the weight of history. Layers of nuance, reflective of the characters' internal landscapes, serve as a hallmark for Kelsey and Jess's beautiful touches of atmosphere.
A line of Vera’s resonates deeply: “... you help people, it’s about the community.” I am profoundly grateful to be supported by the STC village of craftspeople and practitioners who brought us to this small slice of the West Village NYC, to be part of Kip's final season, and to have the generous support of Mitchell as he takes the reins of the company.
Grief is a silent yet powerful force that runs throughout the play. Grief can both isolate and connect individuals. But ultimately this play challenges us to embrace vulnerability and empathy, to value the importance of listening and understanding across generations. Every moment of conflict is also an opportunity for growth and healing, and I believe that’s where the play’s true beauty lies.
Thank you for joining us on this journey.