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

She Loves Me: The Classic Broadway Musical in Concert - Western Sky Projects (10 August 2024)

Classy. The word that immediately comes to mind to describe not only this fabulous production but the entire experience at the matinee performance. From the pre-show tour of the Liberty Theatre that had lain dormant for so long in the heart of the city, to the cast interacting with the audience before the Prelude, to the joy of the show itself, and the post-show Q and A, this was sheer class from top to bottom.

While the two sold out evening shows catered to an audience of some 160, the matinee was specifically tailored to be a more intimate affair of around sixty. The tour conducted by director, co-producer, and Western Sky founder, Andrew Baker, along with cast member Noah Humich (Arpad Lazslo) was a lovely touch. Especially given that the Humich family has played such a significant role in bringing the space back to life and is committed to developing more arts venues in the city precinct. There was an inescapable authenticity and enthusiasm as Humich guided us around the heritage listed venue. This included passing through the green room where the cast was preparing. We will return to the significance of this later. Another benefit of the tour - front row seats!

Mark Flower Photography

The performers, all fabulously costumed, enter and begin to mingle with the audience. I'm asked what perfume I would like to sample by stylishly attired Chris Gerrish in character as Ladislav Sipos, an employee of Maraczek's Parfumerie. The year is 1934. The place, Budapest, Hungary. The rustic nature of the Liberty suits this perfectly. There may not be a $100,000 set but what we do have is a multi-tiered series of platforms that give the perfume shop depth; great set decoration and props; and the inventive deployment of furniture and lamps in the wings to efficiently depict other settings. Set design by Trace Co with effective lighting design by Production and Lighting Facilitator Adelaide Harney. 

Then there's this - the four piece orchestra, stage left. Who begin to play under Musical Director Joshua Haines who's also on keys. We quickly come to realise that this is a sublime score that is expertly played by Haines, Alex Barker on drums, Cooper Williams on trumpet, and Ruth Klein Cook whose violin playing elicits so much emotion in what we will soon recognise as a wittily realised romantic comedy. 

Indeed, this is but one incarnation from the original 1937 play Parfumerie that will also see the Hollywood movie adaptation You've Got Mail starring Tom Hanks and Meg Ryan. Here our lead characters, Georg Nowack and Amalia Balash, are wonderfully played by Will Groucutt and Amy Fortnum. Georg and Amalia, in a classic romantic comedy trope, immediately dislike each other whilst unknowingly communicating back and forth by letter. Shenanigans ensue. The musical premiered on Broadway in 1963 and, again, there's a real sense of class all over the writing, the songs, and the music.

Mark Flower Photography

Baker has put together an exceptional cast - the vocal talent across the board is superb; the acting is excellent; the comic timing and staging impeccable. You can sense a real camaraderie between the performers. Yes, the production is described as "in concert" which means performers will often have script in hand but this in no way detracted from the overall experience.  

Fortnum sings superbly with Act One closer Dear Friend one of many highlights. She displays very good comedic chops, especially in the second act with numbers such as Where's My Shoe? Groucutt impresses as Georg realises the entanglement he's in before embracing the possibility of love. Showcasing an expressive singing voice, Groucutt combines beautifully with Fortnum vocally. 

Lainey O'Sullivan has a lovely arc as her jaded Ilona Ritter ends up finding love in an unexpected place with that trajectory perfectly personified by, firstly, the defiant I Resolve to the charming A Trip To The Library. Ryan Hunt as Steven Kodaly might be the closest thing to a villain of the piece as Kodaly woos then abandons Ilona while also fraternising way above his pay grade with all sorts of ramifications. 

Gerrish brings a light touch to Ladislav Sipos and is so good in support of comic set pieces such as the visit to the Cafe Imperiale where Georg goes to meet his pen pal for the first time. Speaking of that sequence, Robert Hoffman makes for a magnificent Head Waiter adding another potent singing voice while bringing the funny in spades. 

Mark Flower Photography

Robbie Burns adds an understated gravitas as Mr. Maraczek while Humich is all youthful eagerness as Arpad transforms into Mr. Lazslo. There's also an embarrassment of riches in the ensemble with Alan O'Neill, Jess Clancy, Sophia Matthews, Lindsay McNab, Lynzie Bremner, Andrew Baker himself, and, in a delightful surprise, Cooper Williams jumped out of his chair in the orchestra to participate in the fun! This all comes together in perhaps my favourite moment which was like a movie montage - Twelve Days to Christmas where the cast becomes increasingly frenetic as festive season sales boom. 

Special mention to Sound Designer Michael Fletcher who I spoke to earlier in the year to better understand how critical his work is to shows such as this. Humich had mentioned in the tour how good he thought the acoustics at the venue were but I suspect a lot of skill and effort has gone into ensuring that the balance and clarity between the performers and the orchestra was so good. 

To finish, after rapturous applause at final bows, the Question and Answer session hosted by Jess Clancy was insightful. Two observations that were notable - the 'in concert' approach meant that the cast, many of whom have full time jobs, were able to do the show as they didn't have to spend so much time absorbing the text. Then Amy Fortnum, also a co-producer, spoke so passionately about what musical theatre could and should be and how she wanted to break down the fourth wall between audience and performer, hence the trip through the green room and the cast mingling with the audience before and during the show.  

This was an exceptional afternoon. If the final show hadn't already been sold out I would have been sorely tempted to buy a ticket and go right back in to watch it again. 

Western Sky Projects' ethos of supporting local talent for the benefit of performers and audience alike is genuine. Taking a risk as a not-for-profit production company on a Broadway classic that hasn't been performed in Perth in over fifty years at a venue that hasn't been in regular use for over forty is laudable to say the least. 

The fact that it ended up as a triumph is a testament to the vision, creativity, talent, and hard work of all involved.