outhouse theatre co

So Young by Outhouse Theatre Co

So Young

So Young Rating

★★★★★

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Douglas Maxwell has built a strong reputation as one of Scotland’s most successful playwrights.

Now, Ainslie McGlynn, Jeremy Waters, Henry Nixon and Aisha Aidara bring Maxwell’s comedic four hander ‘So Young’ to the Old Fitz for its Australian premiere for Outhouse Theatre Co.

‘So Young’ won the Best New Play at the annual Critics’ Awards for Theatre in Scotland with its funny and heartfelt portrayal of facing the future while the scars of the covid pandemic are still healing.

Sydney’s a long way from Glasgow. The four actors performing So Young had no way of knowing there was a Scots native that lived for years in Glasgow hiding at the back of the audience. I’m happy to report that Outhouse Theatre Co’s new production wouldn’t be out of place in the Tron, the Traverse or Oran Mor’s a Play, a Pie and a Pint.

Sam O’Sullivan’s clean and realistic direction wastes nothing. The text is timed exquisitely, making great use of Maxwell’s pauses for comic effect. Lighting design by Aron Murry supports the realism using changes and specials to assist the settings of place and time. Set by Kate Beere is detailed and homely, with a warmth created by an autumnal colour palette. Lamps, books and records adorn and enhance the ‘lived in’ feel.

Greta: “This is my world – it’s mine for the taking and I’m taking it!”

 

So Young
So Young
So Young

 

The acting walks the line of heightened drama and comedy with precision. Aisha Aidara is warm, vibrant and kind as “Greta”. Ainslie McGlynn shows great range as “Liane” battling change and grief, as does Henry Nixon as Milo – but with stoicism and Vesuvian anger. Jeremy Waters is thoroughly watchable as “Davie” – working the text with aplomb.

It’s a risky endeavour to take on a Glasgow accent. For a comparatively wee city there’s a wide variety of accents and throw in some Scots words and you’re playing with fireworks. Hats off to Linda Nicholls-Gidley for coaching the cast to succeed in sounding Glaswegian, while keeping it easily accessible for a Sydney audience, and only occasionally stray west toward Ireland.

At one point Maxwell namechecks Scots authors Iain Banks and Irvine Welsh. So Young’s comedy is not nearly as dark as Banks or Welsh. This is a Glasgow of middle-aged teachers and graphic artists. They drink white wine instead of Buckfast and Irn Bru.

The audience clearly loved it, laughing happily throughout, with a few tears shed in the final act.

To book tickets to So Young, please visit https://www.oldfitztheatre.com.au/so-young.

Photographer: Richard Farland

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Eureka Day

Eureka Day

Eureka Day Rating

★★★★★

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1

In Eureka Day, Jonathan Spector’s razor-sharp satire of liberal consensus and public health anxiety, a seemingly progressive Californian school board descends into chaos over a mumps outbreak. But what could easily become a smug send-up of anti-vaxxers and virtue-signallers is instead something more nuanced, uncomfortable, and timely. Under Craig Baldwin’s deft direction, Outhouse Theatre Co’s production at the Seymour Centre lands every comic beat while never losing sight of the emotional truths buried beneath the surface.

Although the play is distinctly American in setting, this Australian staging loses none of its relevance. The characters feel instantly recognisable, the debates all too familiar. This is a story not just about vaccines, but about what happens when our desire for clarity and reassurance collides with ambiguity, grief, and fractured trust.

Katrina Retallick is particularly compelling as Suzanne, the new age, soy latte-sipping board member whose calm certainty masks deep personal pain. She walks the tightrope between satire and sincerity with precision, making Suzanne both maddening and deeply human. When the character’s backstory is revealed, Retallick’s performance shifts into something tragic—an aching portrayal of a parent failed by the institutions she once believed in.

Eureka Day
Eureka Day

Jamie Oxenbould’s Don is equally affecting. The embodiment of well-meaning, moderate liberalism, Don wants nothing more than to keep everyone happy. Oxenbould captures his charm and diplomacy perfectly, but also lets us see the cracks forming under the strain of trying to appease all sides. His unravelling in the brilliantly staged Zoom scene is as funny as it is painfully relatable.

Deborah An brings a quiet strength to May, initially playing her as a reserved and observant figure. But as the stakes rise, An reveals the steel beneath the calm, delivering a performance that builds patiently to a moment of quiet triumph. Christian Charisou’s Eli enters bold and brash, full of passionate conviction, but undergoes one of the play’s most significant emotional shifts. His transformation, grounded in his role as a father, adds weight and tenderness to a character that could easily become just a mouthpiece.

As Carina, Branden Christine is a standout. Starting off as a newcomer eager not to step on toes, she grows into a voice of clarity and compassion. Her confrontation with Suzanne doesn’t just showcase moral courage, but also the empathy that gives the scene its emotional punch. Christine subtly anchors the play’s message: that we must speak up for what we believe in, but also make space to truly hear one another.

Eureka Day
Eureka Day

Technically, the production is sharp and inventive. The colourful, clean set provides a visual cue for the play’s early optimism, which contrasts starkly with the bleakness of the later hospital scene. The use of live projection, sound, and lighting in the Zoom sequence is a highlight—expertly timed, uproariously funny, and all too recognisable to anyone who survived the remote meeting era.

Eureka Day is a biting, intelligent, and unexpectedly moving production. Outhouse Theatre Co has created a version that speaks directly to Australian audiences, reminding us that the messiness of democracy—and of parenting—has no borders. It’s as hilarious as it is human, and well worth seeing.

To book tickets to Eureka Day, please visit https://www.seymourcentre.com/event/eureka-day/.

Photographer: Richard Farland

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Meet The Actor – Deborah An

Deborah An

Greetings, theatre enthusiasts! Today, we’re delighted to feature a star from the upcoming production of Eureka Day at the Reginald Theatre. Our guest has journeyed through diverse characters on stage and screen, bringing a unique blend of charm and depth to every role. As we gear up for the show’s premiere, let’s dive into the world of our talented actor and discover their passion for the craft.

About Deborah An

Why do you want to be an actor?

From the age of six, I wanted to be everything when I grew up: a ballerina, an astronaut, a teacher, police officer, mermaid, lawyer, veterinarian, painter, pilot. You get the idea. Everything. Around the age of 10, I discovered the reason I wanted to be all these things was because I saw them in movies. It was then that I realised the only profession I could pursue that would allow me to be all of these people was acting. But don’t get me wrong, I still – and on a sometimes regular basis – consider changing careers. The thing is I always come back to acting. And let’s be honest, we can’t all be Jonny Kim (Google him if you need to).

What do you enjoy most about acting?

When you step into a character, you have no choice but to see the world through their perspective. Sometimes your character holds similarities to you as the actor, but when they don’t, it’s a challenge. Even more than a challenge, it’s an opportunity to confront your own ideals, worldview and sometimes fears. No matter who the character is, I always walk away at the end of a production feeling like I’ve evolved as a person, and that’s what I love about acting.

What has been your favourite role so far in your career?

This is such a tricky question! If I had to choose one, it would be Min Jee in Night Bloomers on SBS. It was the first time I spoke Korean on camera and also the first time I died on camera! Don’t worry, it’s an anthology, that wasn’t a huge spoiler. The whole creative team, the writers, directors and most of the actors were all Korean and that was pretty special to me.

Deborah An
Deborah An

What do you think makes a performance most believable?

This is something I struggle with in my day to day life, but I think LISTENING. When you stop just hearing the words someone else is saying because you’re too busy trying to think of what you’re going to say next, and start actively listening, it makes you present and responsive. But to be honest it can actually be quite exhausting. Haha.

How do you maintain your physical and emotional health while working on demanding projects?

Prioritising the basics like eating and sleeping well, I find, goes a loooong way. Outside of pure survival though, if I know I’m going to be flat out for X period, I’ll let my friends know I won’t be seeing them for a few weeks, or in some cases months. I can be quite an introvert, so the last thing I want to do after a long week is socialise on the weekend. My friends know me well enough by now not to take it personally. Bless them. Physically, I like walking my dog to the park or beach, which helps emotionally too. I also love cleaning the house and meal prepping, so that becomes almost a meditative ritual for me. I think it comes down to knowing what you need and scheduling time for that.

Is there anything else you’d like to add?

Outhouse Theatre Co and Seymour Centre present Jonathan Spector’s ‘Eureka Day’ at the Reginald Theatre from 29th May to 21st June!

Where can patrons purchase tickets to this production?

To book tickets to Eureka Day, please visit https://www.seymourcentre.com/event/eureka-day/.

Thank you so much for sharing your incredible journey and insights with us! Break a leg in *Eureka Day*; we can’t wait to see you bring the Reginald Theatre to life. Cheers to an amazing run!

Other interviews can be viewed in our Meet The Performer Series.

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The Messy Truth of Reality – Consent

What I was expecting: A courtroom drama about a rape case, and the effect it has on the lawyers who are trying the case. A play that was going to be uncomfortable and confronting, but presented an important discussion into the way we think about “consent”.

What was presented: A dark comedy that looks at the breakdown of a housewife’s relationship with her husband. It was a deep and complex interrogation of the concept of truth, perspective and fidelity that had me laughing with and relating to the characters.

Although the play does follow a rape case, the case and the personal life of the barristers are quite disconnected. My two initial thoughts of how the performance would run were completely off; the barrister does not fall apart feeling guilty about getting a rapist off, nor does the play end with a guilty verdict that sets the world right again.

Instead, Consent looks at how being “technically right” through legal reasoning can work to ignore and deny the messy truth of reality. The audience is presented with everyone’s side of the story and refreshingly isn’t forced to agree with any one character’s perspective. Each is right. Each is wrong. Each is deeply flawed. Everything is thrown up in the air and allowed to settle with the audience wherever it falls.

The rape case in this performance is presented almost as a play within a play. It is used as a way to emphasise the unflinching and unmerciful reasoning of the law and the lawyers that use its logic. The lawyers hold all of the control, yet the victim Gail (performed in this production by Jessica Belle) resists their version of the truth. She refuses to become an actor in their play and demands to be heard.

In this production, the first act is performed entirely downstage, and a partition was placed in the middle of the stage and used as a “backstage” for the actors. However, lighting effects allowed the partition to become see-through at times, providing an eerie, foreboding, and ever-present reminder of the darker themes of the play.

The partition changes at the end of the first act, where Jessica Belle’s Gail tears it asunder. It’s a powerful choice of staging as Gail literally breaks that fourth wall down to get her truth across. With the partition broken, it’s as if all of the complex issues and emotional chaos that were so intensely avoided in this first act are allowed to flood in. And like a tsunami they do.

Cue act two. Every single actor came alive in this second act, revelling in their characters’ disturbed emotional states. In particular, Kitty (played by Anna Samson) became a woman unhinged. Statement costume pieces and strong sound design emphasised the power shift within the play, and Anna Samson skillfully portrayed the transformation from a doting housewife to a woman on a mission.

Another standout performance was delivered by Nic English in his portrayal of Edward. Whether he was cross-examining a rape victim, having a verbal spat with his wife, or cuddling a soft toy whilst crying like a small child, Nic English was an absolute pleasure to watch.

Outhouse Theatre Co‘s production of Consent tackles its heavy and dark themes seriously, whilst also making the audience laugh out loud as they do. The actors combined perfect line deliverance and expert timing amidst the thoughtful stagecraft making the production come together seamlessly.

This play is not as dark as the promotions and publicity might make you think, and I hope that anyone who has the opportunity to see it does. It was a thoroughly enjoyable performance from a very talented cast.

Consent runs for three more weeks Wednesday through to Saturday until the 24th of June.

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