Rosencrantz and Guildenstern Are Dead - GRADS Theatre Company (9 October 2025)

Where to begin? Let's start with the sheer audacity of what playwright Tom Stoppard has accomplished. He's taken two minor characters from one of the most celebrated works of all time whose fates have been predetermined by no less than William Shakespeare, and put them front and centre in the story of their own demise. That it is witty, poignant, thought provoking, and the ending more than a little heart-breaking, is testament to the superb writing. Stoppard's love of language is instantly apparent as is his playfulness on so many levels as the duo bicker, play games, procrastinate and philosophise, unsure how to proceed after being summoned by the king. You see, there's this guy who's been moping around called Hamlet and, well, our heroes are tasked to ascertain what afflicts him. 

This wonderful premise allows Stoppard to riff on all manner of subjects from the nature of fate to the profession of acting itself. This is metatheatre writ large with a play within a play within a play that inverts Hamlet by relegating its key characters to bit players, recontextualises many of that play's key moments, and explores in more detail how the ill-fated duo come to such an ending as the title doth suggest. Oh, and there's this - it's smart and really funny. There are elements of madcap humour reminiscent of that great wave of British comedians from the sixties and early seventies (the play was first staged in 1966) who would become household names such as the Pythons. Some scenes are constructed as elaborate skits and there is plenty of physical comedy, in-jokes, mime, and sight gags. 

A play this layered and complex with rapid fire dialogue (and plenty of it), deft comic timing, and physical antics demands a lot from its two lead actors. I'm happy to announce that Alex Comstock as Guil... um... Rosencrantz, and Thomas Dimmick (Rosen... *ahem* ... Guildenstern) are more than up to the task. It's an impressive turn by both of them, immediately establishing a rhythm and genuine connection during the famous opening scene where the outcome of the repeated flip of a coin takes on portentous meaning... or not, depending on your point of view. 

Comstock's Rosencrantz is initially full of almost boyish enthusiasm and naivety which plays well against Dimmick's more assertive and thoughtful Guildenstern. There are times when this is flipped to great effect as their predicament deepens. Comstock mimics and cavorts with glee while Dimmick prowls and grimaces in existential dread. They deliver the banter dialogue with precision while luxuriating in beats where the pause, as counterpoint, is expertly deployed. They are also fabulously attired in Merri Ford's Elizabethan styled costumes with Dimmick echoing Joseph Fiennes' look from Shakespeare In Love (co-written by one T. Stoppard). The third act is particularly affecting as greater forces intervene with both actors communicating the exasperation and confusion over how it could all go so cruelly wrong for these affable courtiers.

Around our title characters swirl two sets of notable contingents - the Court from Hamlet including the prince (Leigh Fitzpatrick) who mouths the famous soliloquy, stage right, which is such a wonderfully subversive beat; and poor old Polonius (Neale Paterson) who amusingly gets wheeled out in a barrow holding a shovel after he's despatched; and the Tragedians under the lead of The Player (Jeff Watkins) who foreshadow events and provide meta commentary through acted scenes from a play... within a play... which is within another... ... play.  It's all glorious fun. Watkins brings the swagger and imbues The Player with vanity and insight while the Tragedians are a delight. Superb face makeup by Yvette Wetherilt and striking costuming by Ford, along with the vaudeville style antics of  Codey Finlay, Jordan D’Arcy, Daniel Suttner, Alex Ketko, and Tom Tasovac as Alfred, provide many memorable interactions. They work well as a company of players playing a... company of pla-- okay, you get it... with each having a highlight in portraying over-the-top deaths or heightened emotion. 

I was quite taken by the lighting design of Fiona Reid, notably in the third act when we're at sea on a boat at night. Wonderfully lit and atmospheric as the mood is contemplative and a key deception is revealed. There are also moments, earlier, when the whole stage is brightly illuminated as if there is a literal spotlight on the central characters.

I loved the back-and-forth dialogue, circular arguments, and japery but just as important is the use of silence as we empathise with the characters or feel their uncertainty. Director Tony Petani and co-director Emily Keys also aren't afraid to slow things down and take advantage of the large performance space of the New Fortune Theatre. Characters traverse the stage like chess pieces, unhurried and deliberate. As the duos' dilemma deepens though the action becomes more frantic and theatrical. 

This is an excellent production of a notable play that mirrors one of the most famous plays of all time. There truly are no small roles, only two minor characters thrust into the spotlight where the periphery becomes centre stage and the toss of a coin is something more than random chance. It's funny, provocative, and a pure delight to watch exceptional writing executed with such flair and attention to detail in all departments.  

Matilda Jr. The Musical - Guildford Grammar Preparatory School (4 September 2025)

Listen up, maggots! Yes, you in the back row. I'm talking to you! 

With much trepidation, this Old Scotch boy ventured forth to *gasp* Guildford Grammar to watch a small army of students from Years 4 to 6 perform in the Tim Minchin (music and lyrics) by way of Roald Dahl musical about a brilliant young girl with the power of telekinesis. Think Carrie but with less mayhem. Seriously though, it is a great musical with wit, heart and memorable songs including When I Grow Up. 

And I'm here to tell you, I really enjoyed this show. 

The production elements were well done - from the detailed set design for Crunchem Hall and all the attendant moving parts such as a myriad of robust desks; excellent lighting design and execution by GSD Productions; an impressive array of costumes for so many performers (Costume Designer, Mardi Shaw), and the sound quality was good with few hiccups (Audio Design, Ashton Admor and Sound Technician, Caris Lloyd). Kudos also to Samantha Martinez for designing a wonderful chocolate cake.

There were several stand out performances starting with Grace Perez-Olea Hulley as an empathetic Matilda who sang well and radiated the sincerity and intelligence needed for the character. Isobel Bower-Martinez was a softly spoken Miss Honey who embodied kindness in an understated performance that worked well. Of course, every great protagonist needs a great villain and Nava Adin was outstanding as Miss Trunchbull with an arresting stage presence and flair to burn. 

I enjoyed the antics of the Wormwood family, especially Jack Colefax as Mr Wormwood while August Bennetts made for a flamboyant Rudolpho. Jovie Wilkins and Kaylie-Ann Coetzee were featured as the Escapologist and Acrobat respectively but there were so many others with little moments that made an impression. Like Hamish Brandish Muir's cake eating skills as the put upon Bruce. Then there's the vast ensemble which Director Caroline Edwards utilised well in the big set piece numbers. 

All done in a brisk ninety minutes with no intermission that had me smiling in delight throughout. This Scotch boy approves! 

Theatregoing (Half A) Year In Review 2025

While I may not be reviewing on this blog or commenting as Perth Theatregoer anymore, I'd still like to give a shout out to productions and practitioners who caught my eye in roughly the first half of the year. 

I went along to Fringe World for the first time in a couple of years; largely released from my screenwriting duties for major funding deadlines. What struck me most was the quality of the writing in several local productions. This thrilled me no end.  

There were two revivals from the top tier of the Perth theatrical scene - Holland St Productions' What Doesn't Kill You [blah blah] Stronger with Tyler Jacob Jones and Erin Hutchinson in scintillating form, accompanied by Joe Louis Robinson; and the ten year anniversary of The Last Great Hunt's FAG/STAG with Will Bartolo and Shaun Johnston in the roles originated by creators Jeffrey Jay Fowler and Chris Isaacs. Superb writing - Jones with Robert Woods in a razor sharp musical comedy; Fowler & Isaacs with wry observational drama.  

A trio of original works impressed - The Simple Gift by Andre Victor which quietly reminded us of the power of remembering who you really are through acts of kindness; the raucous and clever Lady Macbeth Played Wing Defence by Crash Theatre Co that more than lived up to the hype with swagger to burn; and Iris Warren's adaptation of Femoid (Vixen Theatre Company) from her original 25 minute TILT piece into a full-blown hour which deepened the exploration of young women having to deal with the repugnant and dangerous Incel culture.

The next production floored me. So much so that my review started with, "I don't know how to review this show." What To Expect When You're No Longer Expecting by Roe Rowe Productions is a striking example of theatre at its most honest - raw, vital, and brave. I cried. For Roe. For a friend. For a lady nearby in tears. I cried because such generosity of spirit is also a gift. 

A quick mention to three other shows that featured sharp writing/storytelling - FootyBoy by Wallaby Blue Company with a serious message under the humour including the power of forgiveness; Sarahtonin by Sarah Bowers which engulfed the Leederville Hotel's Red Room in positive vibes; and the unexpected gem of Stand and Deliver by Thanks Tina at the Hayman Theatre. 

In the world of community theatre, I was taken with the very funny She Kills Monsters by Darlington Theatre Players which featured excellent production values; Looped at the Old Mill Theatre showcasing a stunning portrayal of real life actress Tallulah Bankhead by Kylie Isaia; and Green Day's American Idiot by Art In Motion Theatre Company for its no holds barred approach.

Speaking of stunning portrayals, Pamela Rabe could only be described as [insert every adjective here including ASTONISHING] in August: Osage County by Black Swan State Theatre Company. I can't recall seeing a better performance on a Perth stage. What I love is that Hayley McElhinney went with her as the fireworks ratcheted up in the second act.  

Another kind of performance, equally entrancing, occurred at the Richard Gill Auditorium where Gina Williams gave a powerhouse vocal display with her storytelling, sense of humour, and generosity [I'm seeing a theme here - kindness, forgiveness, generosity] truly outstanding alongside guitarist Guy Ghouse and the WAAPA Contemporary Music Students in the Kalyakoorl Ngalak Warangka (Forever We Sing) concert.  

Back to writing (and directing), Rachel McMurray made an auspicious Perth debut with her play Shadow of Doubt by Fine Comb Theatre Company at the Blue Room; a tightly constructed, supremely acted, and smartly presented work.  

In terms of presentation I thought the entire design team - Set and Costume Designer Sam Knox, Lighting Designer Peter Young, and Composer and Sound Designer Tim Collins - of the excellent Hoods by Barking Gecko Arts did an outstanding job which allowed actors Joshua Everett and Natasha Pearson to inhabit that space to great effect. 

Other performances that hooked me:

Zane Alexander in a wonderfully judged physical turn that is exacting in its repetition and pace in Endgame by the Kalamunda Dramatic Society.

Grant Malcolm whose monologue towards the end of the Henry IV (GRADS Theatre Company) as Henry catches Hal wearing the crown is worth the price of admission alone.

Paul Treasure's exhilarating descent into disenchantment and rage as Samuel Byck in Assassins by Roleystone Theatre Company.

Attending shows at WAAPA remains one of my theatrical joys so shout outs to Becca Galvin in The Watsons; Bianca Metcalf in Freaky Friday; Hank Harris in Punk Rock; Chloe Taylor in Merrily We Roll Along; and Conan O'Connell in Consent.

Mentions also to Chloe-Jean Vincent as the eponymous lead in The Diary of Anne Frank by Drew Anthony Creative; and Will O'Mahony in Black Swan's Never Have I Ever. 

Finally to director Blake Jenkins and his team at Bel Canto Performing Arts for seeing me out in style with Chicago: Teen Edition. 

Well, that's me done. No, seriously this time. I'm leaving. Walking out right now. Of my own blog. I promise... does anyone know how to get out of here? *looks around blankly* Ah, there's the exit! 

Richard ;-)

Chicago: Teen Edition - Bel Canto Performing Arts (12 July 2025)

Give 'em the ol' razzle dazzle. Bel Canto Performing Arts did exactly that with a stylish and confident production of the classic musical Chicago. Before we shimmy into any further details let's set up a little context. As this is the teen edition of what is famously a sexy and pointed satire about celebrity culture and how sensationalism trumps the truth, certain elements have been altered. It's pleasing to see a full page in the programme that respectfully and clearly explains those changes under the licensing agreement and the company's considered approach. An excerpt:

"Every creative decision, from choreography to costuming, has been made with thoughfulness and intention. Our goal has never been to sensationalise, but to present a bold, stylised and age appropriate piece of theatre that encourages growth, confidence and artistic expression."

I witnessed this care and attention to detail talking with members of the creative team before the show. Especially about the costuming which looks fabulous without being inappropriate. I did chuckle a couple of times at some of the lyric changes, however, this didn't detract from my overall enjoyment of the production. If anything, it enhanced it. Some of you will faint, I know! ;-) 

This tale contains a fabulous collection of Kander & Ebb songs presented with a sly wink and imbued with a touch of the indelible Fosse style. The performers, ranging from 15 to 21, are poised and focussed as they bring 1920s Chicago to life; a world of jazz and liquor where fame is only a gunshot and tabloid headline away.  

Iconic opening number All That Jazz clearly laid director Blake Jenkins' cards on the table. Equal emphasis on movement, vocal excellence, and capturing the swagger of the era. A simple set on two levels with three sets of stairs and a single door at the rear; along with wooden chairs in the tight wings for the ensemble to observe and adorn themselves on. Set design by George Boyd. 

Lighting design by Katharina Brieden plays with shadows and silhouettes whilst also spotlighting the feuding stars of the Cook County Jail as they vie for the attention of the media and notorious defence lawyer Billy Flynn (Jayden Adams). At times a little too much darkness for secondary characters on the periphery, however, the glitz and glamour shines through in big setpieces such as Roxie. 

Choreography by Matilda Jenkins echoes the precise moves of the Fosse style before embracing some fun flourishes of its own, especially with Amos (Calum Blakemore) in Act Two. Costuming by Matilda Jenkins and Lyn Leeder carefully treads the line between honouring the flapper era for the girls and not being too revealing, while the guys look resplendent in the predominantly black outfits the show favours. Sound design by Gordon Smith does a nice job of balancing vocals with the backing tracks and Musical Director Christie McGarrity ensures the vocal quality across the board is good indeed. 

I've already mentioned a couple of the male performers by name but, of course, Chicago is powered by a trio of female characters. Abigail Hill gives a full throated and feisty performance as the infamous Velma Kelly who is put out by the unexpected ascendancy of latest inmate Roxie Hart. Harriet Kenworthy initially plays Roxie with a disarming naivety that turns into something far more hard-edged as celebrity beckons. Hill and Kenworthy play well off each other; give interesting interpretations of wellknown songs; and sing beautifully together in first act closer My Own Best Friend and the plaintive Nowadays. Madelaine Batten is the other larger-than-life female character in the role of Matron "Mama" Morton. Batten is suitably bossy, plays up to the audience, and is an amiable presence throughout. 

Which brings us back to Jayden Adams and Calum Blakemore. Adams makes for a suave Billy Flynn who charms and cajoles in equal measure in an assured performance. Blakemore garners much audience sympathy as sad sack Amos with his work in the second act particularly affecting. Both have a highlight moment at opposite ends of the spectrum - Adams gets to literally Razzle Dazzle; Blakemore tugs at the heartstrings with Mister Cellophane. 

In the teen version, Mary Sunshine, usually a male in drag, is played by Eloise Andrew. That change does take away from the inherent flamboyance of the character yet Andrew handles the pliant report effectively. As does Matt Ballantine as the opportunistic Fred Casely and Adela Jung as the rambunctious Go-To-Hell Kitty. 

Any highlight of Chicago has to include Cell Block Tango with its anthemic "He had it coming!" refrain. Props to Hope Shepherd, Kayla Brown, Leila Zaknich, Evangeline Scali, and Holly Zaknich as five of the "merry murderesses" along with Velma. Then there's the always fun We Both Reached For The Gun which sees the whole company shine. 

Chicago is one of my favourite musicals and the movie version is a stunning adaptation. Watching the teen edition is a real pleasure. Yes, there are mandated limitations which means that if you know the full show it sometimes feels like it's pulling its punches. But to be honest, it's only a minor quibble when you see such a talented young cast on stage being so well supported by dedicated creatives from producers Katherine & Justin Freind on down. 

A glimpse at the future as you enjoy one of the legendary shows of the past. Chicago is on at the Old Mill Theatre in South Perth until 19 July. 

Photos by Outatime Pictures

Hoods - Barking Gecko Arts (17 May 2025)

My mantra when it comes to expectations for any show is simple:

A good story, well told.

A large part of achieving this is establishing the authenticity of the world in which that story takes place. This allows the actors to inhabit their characters truthfully, play freely within the space that has been created, and immerses the audience in the reality of whatever the given circumstances are.

 
The design elements in Hoods are an outstanding example of this. From the set design depicting a segment of society in decay, to the bold and creative lighting design that highlights the obstacles facing the characters, and the subtle layering of sound which adds to the realism of the plight we are confronted with.

That plight is two children - Kyle (Joshua Everett) and Jessie (Natasha Pearson) - who are left in the family vehicle with their baby brother in a carpark near a train station and highway. Mum has told them not to get out of the car which Kyle takes to heart while Jessie, concerned about the baby and desperately needing to pee, wants to leave.

 
The family situation is teased out as the children imagine they see other people from their parents to a kind teacher and a security guard amongst others. We slowly come to learn why the mother has taken such drastic action and it's heartbreaking, all too real, and compelling.

Everett and Pearson give superb performances on multiple levels - realistically playing children and squabbling siblings; portraying adult characters in either flashbacks or imagined encounters with a childlike exaggeration; and embodying the exuberance of play with Kyle in particular resorting to mimicking video games to cope with the situation.

 
Then there is the sheer physicality of the acting which is where such a tactile set comes in. The two actors dodge and weave, prance and cavort on old tyres, through wooden slats, with movable blocks effectively creating the vehicle and, later, a servo where the children try to contact their mum.

There is real tension established throughout. Where is mum? Why did she leave them? Will the baby survive? The callousness of the servo employee had me jittery throughout that interaction. Everett's brief depiction of the dad is genuinely disturbing as is Pearson's response as the mum who has to play along for the sake of the children. It's not an easy watch but I was totally immersed in the world of the drama and the fate of Kyle and Jessie because of the sheer craft and attention to detail on display.

 

Some examples: the barking dog sound effect is so damn good my brain for half a second thought it actually was a dog off-stage. The subtle background noise of trains and suburbia is beautifully realised. The lighting to create the illusion of cars passing back and forth on the highway they have to cross induced fear for their safety. The change from the colder night time to the bright glare of the daytime sun beating down made me feel the heat. Helped by the sweat pouring off the actors from the relentless movement. The reveal of the chip packets and other junk food when the car turns into the servo. The moment the baby cries made me gasp. Every time Everett places a plastic bag over his head with Kyle threatening to asphyxiate himself when he doesn't get his way is devastating.

 
It's all intricately constructed using the video game metaphor to pause and rewind and replay key moments as we jump back and forth in time. Crucially, the story is set in an era before smartphones so having enough change to make a call from a phonebox becomes a critical factor. When the resolution comes there is a sense of relief but it is hard won which is testament to the storytelling and its execution.

 
I was totally invested throughout this hour-long tale. It grabbed me from the start and didn't let go as we are taken on a roller-coaster of emotions, expertly depicted. Playwright Angela Betzien pulls no punches in exploring abuse and neglect from the childrens' perspective, doing so with compassion and intelligence. Director Andrea Gibbs pushes the pace relentlessly and Everett and Pearson rise to the challenge in impressive style. Set and Costume Designer Sam Knox, Lighting Designer Peter Young, and Composer and Sound Designer Tim Collins all do stellar work in creating a world you lean into as an audience member.

 
This is a superb show that should find great success as it travels throughout the state and engages with young people in particular.

Guys and Dolls - Koorliny Arts Centre (3 May 2025)

What a mammoth undertaking! Bringing to life a feted musical from Broadway's golden age with a huge cast, an equally impressive band, and all the attendant creatives and crew needed to put such a show on its feet. I counted 26 cast members and 16 musicians plus two musical directors in the program. A challenge for any director let alone one in the talented Rp Van Der Westhuizen who is tackling his first adult cast musical. In this he is well served by staging it at Koorliny which has built up a sterling reputation over many years of mounting award winning, community theatre musicals.   

Premiering on Broadway in 1950 Guys and Dolls is a time capsule of the prevailing views of the time back in Nu Yawk city where sinners run riot with their gambling and their boozing while the dolls dance in the clubs and, in the case of Miss Adelaide (Jenelle Russo), want to finally tie the knot after a 14 yearlong engagement to hustler Nathan Detroit (Ben Mullings) who is more interested in where to host his next craps game. To complicate matters, Sarah Brown (Hannah Charlotte) from the local mission strives to save these poor sinners' souls but instead encounters the smooth talking Sky Masterson (Lochlan Curtis), a renowned gambler, who is entangled in Detroit's schemes. 

That's the simplest of descriptions for what is considered one of the great musicals which has a lot of story strands going on that eventually collide in, to no one's surprise, a happy ending. The comedy is broad, the lessons learned pretty earnest, however, there is some throwback sass, an infectious score, and several famous songs to have your dice-throwing hand tapping away merrily. 

It is long though - almost three hours with an interval - which is a fascinating reflection of the storytelling rhythms from over seventy years ago. It takes forever to set up 'the bet' around which most of the action revolves and it isn't shy about reinforcing its story beats throughout a scene or in the reprise of a song. Oh, what a modern day editor might do if given the chance! All that being said, there is much to admire about the show with this production pulling out all the stops. 

Ben Mullings makes for a good-natured Nathan Detroit who's hard not to like as he tries to navigate his way through the perils of the law and matrimony with seemingly equal disregard for both. There's always the sense Detroit is in over his head, especially when he's being fleeced by Big Jule (Pear Carr), but he takes it on the chin and we root for the guy. I mean, Detroit has a growing fictional family to support, after all! 

Jioji Nawanawa immediately captures the attention in an expressive performance as Benny Southstreet with good comic instincts and a soulful voice which he demonstrated to further effect in the lobby at intermission. A classy touch as he sang standards with such passion - Feeling Good was spinetingling! I understand cast member Hallelujah Selepe did likewise onstage and they swap those locations each show.  

Jamie Jewell is all sleek amiability as Nicely-Nicely Johnson before he explodes into peak song and dance mode with Sit Down, You're Rockin' The Boat, a true showstopper in the home stretch. Clayton Van Dijk plays along gamely, his broadly sketched policeman, Lieutenant Brannigan, always one step behind the ongoing shenanigans. 

You might be thinking that's a lot of guys and not a doll in sight until we get to Jenelle Russo's Miss Adelaide who's the star attraction of the Hot Box club and increasingly distraught at her marathon engagement to Detroit. Part lovable and ditzy; part feisty and forlorn, it's a showy role with Russo playing well against Mullings, with Adelaide's Lament a highlight. There's some inventive letter writing back to mother and a certain allergic reaction, both of which are played for reliable laughs.

On the other side of the ledger, Hannah Charlotte, who sang so beautifully in last year's The Sound of Music, excels again vocally while playing a buttoned-downed character in Sarah Brown who is beguiled and dismayed by Masterson. Charlotte has some lovely moments with Geoffrey Leeder who plays her character's grandfather; gives a glimpse into what Sarah might become free from the strictures of scripture in the Havana sequence; and generally conveys the mixed emotions of a devout person falling for someone way outside her comfort zone well. 

Lochlan Curtis lends a touch of the matinee idol to Masterson in a suave turn that is quite captivating. While the swirl of gangsters and ne'er-do-wells is rough-edged, Curtis turns on the charm when needed yet convinces us that maybe there's something more to this smooth crooner as Sky seeks to redeem himself. Croon away he does until Curtis kicks it up a notch with Luck Be A Lady, a highlight on which so much of the ensuing story rides. 

Others to stand out include Thomas Dimmick as Harry the Horse who radiates a steely confidence and hint of menace; Sarah McCabe as a stern General Cartwright who threatens to close down the mission; and Pear Carr throws his weight around quite literally as the out of town mobster who doesn't like to lose.

They're supported by a large ensemble that adds scale and glamour as well as fleshing out the world in colourful detail. And colourful it is with excellent work by Costume Designer Lyn Leeder in creating that 50s type gangster look, all suits, vests, and bowties for the guys; the various bold dance outfits for the dolls in era appropriate fashion; and the more sombre attire for the mission members. Augmented in wonderful style by the Makeup, Hair & Postiche Design of Yvette Drager Wetherilt who continues to show why she was inducted into the ITA's Hall of Fame this year. 

The set by Pear Carr is multi-tiered and uncluttered to allow such a large cast to roam freely in depicting facets of everyday New York life or bring the razzle dazzle in big production numbers. The main features are multiple neon signs that clearly delineate where we are in the city and the bold lighting design of Kat Brieden and Chloe Palliser which accentuates all that 'sin' going on. These elements, along with Connie Wetherilt's lively choreography, ensure that when the show hits its straps it's an entertaining ride. Van Der Westhuizen keeps proceedings moving as quickly as possible with a certain rhythm as we move through the different story strands. 

Musical Directors Taui Pinker and Tara Oorjitham do an excellent job with strong vocal performances across the board, led by Charlotte, while the band attack the brassy score with flair. Sound design by Jonathan Hoey is top notch and ensures that all the lyrics and dialogue, even when the broadest of accents is being used, is clear throughout. 

While the pace and style of the storytelling at times felt very old-fashioned, there's no doubt that this is a bright and bold staging of an acknowledged classic. If you're a fan of big Broadway musicals of yesteryear it's another strong outing for Koorliny. 

Photos by Mark Labrow Photography

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