Shadow of Doubt - Fine Comb Theatre Company (19 April 2025)

“What happens when love turns into fear? When the line between care and control begins to blur?”

The challenge with reviewing such a tightly constructed, supremely acted, and smartly presented work is in not revealing its secrets. This is a powerful tale that audiences should experience on their own terms, drawing their own conclusions, and react to in the moment. I therefore apologise in advance if what follows is, at times, somewhat oblique. It is, however, in keeping with the themes of the play where what lingers beneath the surface can completely alter perceptions of the truth as seen from multiple perspectives. In this, writer-director Rachel McMurray has created a nuanced, confronting, and thought provoking production that is brilliantly written and staged.

Shadow of Doubt is an exploration of a relationship between David (Nathaniel Langworthy) and Heather (Lainey O'Sullivan) from the meet-cute first date to their courtship, marriage, and the slow unravelling of that love. We know early on that there is a disturbance to what appears to be a harmonious match as the play periodically moves forward in time to suggest a far darker strand. 

For now, let's concentrate on Langworthy and O'Sullivan who are terrific as David and Heather. A lot of time is invested in creating a believable relationship between the two and a level of comfort and intimacy on-stage that is enthralling. Langworthy is charming as David who is more a knockabout bloke who names his cars, is genuinely bedazzled by Heather, and cares deeply for her. O'Sullivan's Heather is smart, independent and more than capable of taking care of herself. The hints of the faultlines that will widen between them are subtly established while we are charmed by situations that are familiar, authentic, and beautifully rendered. There is an ease to their interactions, both in the naturalistic dialogue and, notably, the relaxed physicality of them being together. It's clear McMurray and Intimacy Mentor Molly Tipping have worked extensively with the actors to create this tangible connection which is crucial to later developments. 

As I was watching this I wondered about the spectre of what had been established with flash forwards to testimony in a courtroom by both parties. The change, when it comes, is deftly executed, increasingly harrowing, and recontextualises everything we have seen. The acting is superb as new information is revealed and key moments inverted in meaning and intent. There are, however, no easy answers or solutions which is testament to the power of the writing. 

Supporting all of this is a cohesive presentation of the world of the story; from the simple set design (Jake Pitcher) of blocks that the actors clamber over, slouch on, and has a functional component; to the inventive lighting design (Mick Rippon) that adds so much atmosphere and symbolic shadow and shading as events twist and turn; to very subtle sound design and music (Rebecca Riggs-Bennett) that heightens emotional beats and creates a sense of unease when appropriate. Even down to the set being a long strip where the audience sits in two rows on either side echoing a jury. The thought and attention to detail is impressive. 

To say more, I believe, would spoil a compelling theatrical experience. So let me say this - the performances are wonderful, the writing is superb and will feature in any end of year nominations for best new work, and the staging uses the space with expertise and precision. There are scenes of great charm and gentle humour but also exchanges that will be uncomfortable to watch with appropriate trigger warnings given in advance. The play will sponsor robust discussion of a difficult topic which is to its immense credit for such an insightful and nuanced approach. 

With ten performances remaining at the Blue Room Theatre until 3 May, this is an outstanding production that is thought provoking, original theatre at its best and is highly recommended.

Photos by Tallulah Chong

The Diary of Anne Frank - Drew Anthony Creative (17 April 2025)

Complete quiet. Between 8am to 6pm. Every day. Day after day. For a little over two years. Talking nothing above a whisper. Unable to use the facilities. Or move about in other than stockinged feet. Lest a noise attracts unwanted attention. The sort of attention that could lead to your death. A fear and constant dread that is unfathomable. Yet amongst this horror comes an extraordinary testament written by a teenager, only thirteen when she was gifted what would become her famous diary. It's a true life tale that demands the utmost respect and care when being adapted for screen or stage.

Director Drew Anthony, up to this point best known for crowd-pleasing musicals, ventures into the world of drama for the first time well aware of the enormous responsibility he's undertaken. From the choice of the 1955 adaptation by Frances Goodrich and Albert Hackett that saw them win the Pulitzer Prize for Drama; to the staging of the production at the prestigious Heath Ledger Theatre; the attention to detail in the presentation of the set; and a committed cast wonderfully led by Chloe-Jean Vincent as Anne Frank. 

In Vincent, Anthony has found an actress who embodies the many facets of the title character - from childlike innocence, petulance, rare insight for one so young, stubbornness, a growing sexuality, and the frustrations that come with being cooped up inside for so long, mainly with adults. It's a wonderful performance that is captivating and heartbreaking. It's a role that demands subtlety and nuance as Anne has a frosty relationship with her mother Edith (Holly Easterbrook), a much closer one with her father Otto (Phil Bedworth), and various complications with the other characters including the three years older Peter Van Daan (Nathan Hampson), initially an annoyance who slowly becomes a tentative romantic interest. We also never lose sight of Anne's literary ambitions and her belief in the essential goodness of humanity, punctuated by moments of terror in harrowing nightmares. 

The other standout is Bedworth who imbues Otto Frank with a decency and stoicism that is quietly compelling. We empathise with a man desperate to keep his family and his guests, the Van Daans, safe at all costs. We understand without question why such a dignified and compassionate man would not hesitate in accepting the risk of another lodger entering the secret annex in Jan Dussel (Jamie Jewell). 

Vincent and Bedworth are surrounded by a cast of well drawn performances. Easterbrook makes for an elegant Edith Frank who laments the lack of warmth from Anne before her frustrations explode in the second half; Asha Cornelia Cluer, by contrast, is showier and increasingly fraught as Petronella Van Daan, a beloved fur coat the cause of several disputes. Matt Dyktynski portrays Putti Van Daan as a ticking time bomb of grievances that threatens any sense of fragile harmony. Ciara Taylor is quiet and reserved as Anne's older sister Margot who is beloved by all; Jewell brings a touch of theatricality as the outsider who becomes increasingly exasperated at having to share a room with Anne and is none too kind about Peter's clumsiness. Hampson navigates a tricky arc from juvenile antagonist to shy confidant and maybe something more with endearing skill; while Kingsley Judd and Grace Tolich are earnest and kind as the loyal helpers who provide food rations and news from the outside world. 

While the situation is bleak there are many moments of warmth, camaraderie, and good natured humour as we are immersed in this hermetically sealed world. Yet human foibles, unrelenting pressure, and the claustrophobic nature of their confinement lead to relationships fracturing as the tension mounts. It's an emotional rollercoaster not only for the characters but the audience as well. We are never left in any doubt as to the stakes with two swastikas, that horrid and despicable symbol of hatred, omnipresent as they hover over the set. Shocking too is the yellow Star of David with Jude inscribed in the centre which the Franks and Van Daans have been forced to wear in the outside world of 1942 Nazi occupied Amsterdam. They are quickly ripped asunder once inside the bookcase concealed refuge. 

Production Design (Drew Anthony), Scenic Build (Rosie Martin), and Scenic Artwork (Jesse Kaserer) create a sombre toned representation of the impressively realised, multi-tiered annex from the attic Peter resides in to the many other bedrooms and shared living space. Costumes (Coordinator, Annette Stivaletta) are also muted in tone and style with two notable exceptions - the aforementioned hint of ostentation with Petronella's fur coat, and, in the second half, with a seeming nod to Schindler's List, the red dress Vincent wears which is a sign of Anne's growing maturity. 

One element I did trip on was the deliberate choice not to use props other than significant items such as the diary itself. This meant there was a significant amount of miming by the actors when dealing with 'paperwork' or 'presents' in the Hanukkah sequence or the consumption of food and drink. Given the attention to detail for all the other elements such as the movie star posters Anne tapes to her bedroom wall this had a tendency to jar.

Lighting design by Christian Lovelady adds to the sense of claustrophobia and foreboding when needed with characters in darkness and shadow but also lends warmth to more positive sequences. Notably, scenes where Anne is reciting passages from her diary as she writes are bathed in a spotlight with the rest of the set concealed in darkness. Audio design by Jordan Gibbs is critical to give a sense of the tumult outside their hiding place including the changing nature of the war as air raids become an increasing reality as the Allies prepare for D-Day and blessed liberation of Europe. 

Yet there are two sounds that cut to the bone - the clatter of a fallen chair, and Petronella's frantic tirade at one point that had me cringing in horror, silently begging her to stop. Such engagement is testament to the immersive nature of the world that had been created.

Their discovery when it comes is gut-wrenching and sad because we know it's all too real what happened. The bookends of Otto returning to the annex to recover the diary are emotional and respectful as we learn of the others' fate, including Anne who died of typhus in a notorious concentration camp. This leaves the audience emotionally devastated yet buoyed by the honesty of the performances. 

As of writing, the production has finished its current run. I believe there are discussions for it to be mounted in other states with a possible return to Perth at some stage. There is no doubt this is a well-acted and moving piece of theatre that highlights the resilience of the human spirit even in the face of unspeakable barbarity. A well-timed reminder of what's worth fighting for even to this very day.

Green Day's American Idiot - Art In Motion Theatre Company (5 April 2025)

In the early going of American Idiot there are videos projected on the rear screen that give us a sense of time and place and most importantly mood. These include snippets from 9/11 and its immediate aftermath. What strikes me is how a pivotal moment in history can be used as the catalyst for vastly different types of stories. Last year saw Come From Away celebrate community and compassion in the wake of that seismic event. Here is the polar opposite. A tale of disillusionment and the struggle to find meaning in a world wracked with strife. Conveyed through the uncompromising music of punk rock. 

Attitude is paramount. Anger, frustration, regret, and longing for something more, something better. Decisions are made that lead to cataclysmic consequences as three friends learn through their mistakes that self-acceptance and belonging is a hard won battle. Quite literally for one of the characters as the Iraq War is a key historical context that informs the story. 

Another element that strikes me is that this musical, unlike a recent production at the same venue, is based on an actual concept album - Green Day's eponymous hit - with additional songs taken from a subsequent offering. While not claiming to be a Green Day fan these are well known songs from a lauded release that won a Grammy Award for Best Rock Album. The musical is sung through with the lyrics carrying the narrative. While the band isn't on-stage, the power and volume of the music does, at times, obscure those lyrics. However, it's the sheer brio of the playing and singing that impresses under Musical Director Callum Presbury. 

The in your face attitude is reinforced with muscular choreography by Jordan D'Arcy and Jason Nettle which often zombifies the cast and large ensemble as they stumble through the remnants of their character's lives. It also bolsters the sense of rage at the world and essential conflict as they collide with each other trapped in their own bubbles.

This is a particularly well sung production led by Liam Tickner as Johnny. He gives a full-throated performance as the central figure who descends into a drug fuelled malaise unable to cope with the disconnect between longing and reality. To such an extent Johnny creates a manifestation of his self-destructive tendencies in drug dealer St. Jimmy, played by Christian Dichiera, who also gives a full tilt portrayal. Salvation looms in the form of Whatsername played with tenderness by Jessica Reynolds until Johnny's demons outweigh his better angels and she leaves him. 

Bailey Bridgman-Peters is excellent as Tunny, the friend who makes a dramatically different choice on seeing Favourite Son (Aramis Martino) extol the virtues of American patriotism writ large. Tunny enlists in the army only to be shipped off to war and calamity. Bridgman-Peters has the bearing of a soldier but it's the slow unravelling of that demeanour into something far more vulnerable that is a standout. In Mary Carter's Extraordinary Girl, Tunny creates his own fantasy character as he laments the loss of a limb only to find acceptance through love with the real life nurse on which he bases his dreams. 

Mathew Leak completes the trio of friends - the one who didn't take the leap; caught in stasis by responsibility and inertia as his partner Heather (Breanna Redhead) falls pregnant. Leak doesn't have as many opportunities to shine as Tickner and Bridgman-Peters, largely anchored to a couch, stage left, as Will is frozen by apathy, pot, and booze. His work with Redhead though is affecting as she presents Heather as a far more spiky character not content with Will's bullshit. 

Director Chloe Palliser ratchets up the energy at every opportunity, utilising a large ensemble who use (often nerve-rackingly) movable platforms, shopping trolleys, and the multi-tiered set to clamber on and over to complement the raw nature of the music with kinetic motion. However, there are telling moments of reflection and solitude in quieter numbers played invariably by Tickner on acoustic guitar. There is also a lot of subversive undercutting of iconic American symbolism - especially the flag and the uniform - which speaks volumes as to the disaffection with the status quo. 

Highlights abound from Boulevard of Broken Dreams, Are We The Waiting, Give Me Novacaine, and there's a particularly classy touch with closing number Good Riddance (Time of Your Life). The Before the Lobotomy/Extraordinary Girl/ Before the Lobotomy (Reprise) sequence is also a deftly executed excursion into fantasy and nightmare. 

I really enjoyed this production for its no holds barred approach, a kickarse band that I thought for the longest time was a backing track - that's how good they were - and excellent vocal performances that captured the spirit of rebellion and vitriol when needed, and were plaintive and almost wistful at times as a lovely counterpoint. A powerful depiction of discontent and decay in a post 9/11 America that continues to spiral into the abyss. 

Green Day's American Idiot is on for three more shows only at the Don Russell Performing Arts Centre in Thornlie, 10-12 April. 

*Photos by Perfectly Picturesque Photography