THERE’S more to the new play coming to the main hall at Ainslie Arts Centre soon than just “Simpson without Shortis”, as some are saying.

For “Finale”, written and directed by Tracy Bourne, is a theatre show that throws light on the journey towards death. 

As the clock ticks on stage through sound effects and artist Nyx Matthews’ set, an unnamed ageing cabaret star (Simpson), welcomes the audience into the space, and then without apparent control swings into a cabaret performance celebrating what Bourne calls “the worst that can happen.”

Conceived 10 years ago for performance by Bourne herself when she was much younger, it was created as a “dream cabaret”. She tells me she did perform it briefly when it was less a play and more a cabaret with a loose narrative, but she wasn’t satisfied with what she was trying to say. 

“The piece unfurls in surprising ways, and it’s important that the audience is taken along with that,” she tells me. 

“It unfolds like a dream. It is a dream. The main character starts to sing, and she creates a performance, which becomes a kind of cabaret, which is a more intimate way of doing it.” 

“The piece does have a certain darkness to it,” she says. 

“It is about mortality, but don’t forget that there are many jokes about endings and deaths… I hope the audience will feel kind of entranced as it goes on… It’s like it’s in the main character’s head.”

Although the piece was not written for Simpson, Bourne says: “This is a piece that pulls all of her skills out. She is at the centre of it… The role is a better fit for her, she is funnier than me, and she’s a really strong singer.”

Explaining how she needed to stand outside her play, Bourne believes that it’s also much stronger having someone a bit older playing the part.

“It gives it more weight; Moya is able to embody all those years of experience in terms of having more than 20 years longer than me and all those years of performing, too.”

It helped that they both live in Bungendore a few blocks away from each other, so could get together easily. 

When I catch up with Simpson, she assures me that it’s not going to be a heavy evening. 

“There are some very funny bits, profound and light at the same time, to make people go away and think about a lot of stuff,” she says.

The audience will surely include many of the loyal followers of Shortis and Simpson, but she hopes the show will “reach out to a really big mixture”.

“My biggest question in getting involved was to ensure that people don’t think this is my story, it’s me as an actor,” she says.

Mind you, Simpson tells me she’s been a member of the charity “Dying with Dignity” for 30 years, and says: “I’m a total believer in not suffering”. 

Percussionist Jonathan “Jonesie” Jones, with whom Simpson has worked before and pianist John Black, were with Simpson and Bourne for an intensive workshop in January, alongside jazz musician Ben Marston as sound man.

“Not only are Jonesie and John excellent musicians, but the relationship between Moya and Jonesie has a special quality on stage, while John Black is kind of their straight man,” Bourne says.

No suffering is anticipated. Bourne thinks of it as a musical theatre piece drawn from the style of cabaret, saying: “I hope people will laugh and will be moved by it. I don’t think it will be confronting. It’s important to have the audience feel included and welcomed – it’s only 60 minutes long and you can bring a drink. 

“Finale”, Ainslie Arts Centre, July 12-15.