Clever, Creative and Eerie – The Turn of the Screw

The Turn of the Screw, written and directed by Tooth and Sinew’s Richard Hilliar (after Henry James) was a very clever and creative production.

An eerie atmosphere was established, from the moment the audience walked into the theatre through the mist to their seats. The preshow orchestral interlude, composed by sound designer Chrysoulla Markoulli purposefully used amplification and dynamics to capture my attention and left me with an unsettled feeling.

Whilst waiting for the show to begin, I got a subtle hint of what was to come by seeing the addition of something strange growing down from the ceiling onto the walls, it was creepy. These preshow elements caught all my senses to ensure a mysterious introduction to The Turn of the Screw.

The play was an adaptation of a well-known novella by Henry James and classified as a psychological thriller. A young governess is hired to supervise and take care of two children by their Uncle and is sent to live at an isolated property in the English countryside, joining the mansion’s housekeeper Mrs Grose.

It is here in the house where the governess experiences something unsettling, and the audience is first introduced to the idea that all may not be what it seems within this family and indeed, within the house itself and the surrounding grounds.

As the story progressed, so did the suspense. The underlying tension continued to mount as strange things involving the children occurred and we are left to question if the Governess, in her attempt to protect the children, is a reliable narrator.  There were some spine-chilling supernatural moments throughout the story, complemented by the lighting, sound and acting that made me shiver!

There was an effective use of costumes, set design and props to clearly define the era without explicitly telling the audience, in the late 1800’s. The colour palette of the set and costumes added to the authenticity and the mood.

All five cast members in the ensemble successfully pulled the audience directly into the show, with in depth believable performances. Each character had their own back story to unravel, and they did this superbly!


The Turn of the Screw was approximately 2 hours with a 20 minute interval.

Tickets are now on sale and is showing at The Seymour Centre from 21 July – 12 August 2023.

ADDRESS: The Seymour Centre, Corner City Rd and Cleveland St, Chippendale

TIMES: Wednesdays to Fridays 7:30pm; Saturdays 1:30pm & 7:30pm

BOOKINGS: https://www.seymourcentre.com/event/the-turn-of-the-screw/

or (02) 9061 5344

TICKETS: Full $49 / Seniors, Groups 8+ $39 / Concession, Under 35s $35

Spread the word on your favourite platform!

Money Money Money – When Dad Married Fury

David Williamson’s When Dad Married Fury is a cheeky comedy that explores the tensions created in the family unit when inheritance is discussed, especially when a new, young, beauty-queen wife joins the picture. Hunters Hill Theatre’s production brings both the funny – and flawed – character traits to the fore whilst tackling the darker themes of the play.

The simple set lets all the tension and drama hold its own space. Red-painted walls and a giant lit-up dollar sign make it no secret what the play’s themes will be about. Clever staging choices also made certain scenes and themes stand out. For example, the character of Judy had just lost all her savings and house and was now living somewhere “too small for a cockroach”. Her primary place on the stage was in a cramped corner on a small lounge. The furnishings were simple and homey but did a great job representing her small and crowded new home.

While the musical score was minimal, intentionally allowing the drama on stage to unfold naturally, there were delightful and well-thought-out entrances for the father, Alan. These emphasised that Alan is a “smooth operator”, and David Kirkman’s strong acting exuded coolness.

Michael Richmond and Dave Went, who played the brothers, Ian and Ben, respectively, had great stage chemistry, and it was clear they were having a lot of fun bouncing off each other. A nice touch was when the actors gave each other a brotherly punch as they walked offstage after the audience applause. This may have been an opening-night-only-comradery, but it was a treat.

Moving to the more serious themes of the play, the character of Laura reminds the audience that the drama on the stage is so far detached from the grim reality of the political world around them. Although Laura requires broodiness and dismay in her portrayal, there is also much room for fun and lightness in her character. Melissa Jones shows the darker side of Laura well, but as the production season progresses, I hope Jones can experiment, play, and explore all that Laura has to offer.

Fury (Laura Stead), Alan (David Kirkham

Another serious theme the play explores is the harsh reality of financial risks. Whilst the brothers are fighting over who should get how many millions, Laura’s mother, Judy, is trying to adjust to her new life after her late husband lost all his money in Alan’s get-rich-quick scheme. Jan Johnson did a superb job drawing the audience in and pulling on their heartstrings. The passion in her monologue in Act 2 was amazing. Johnson’s Judy provided a definite sense of humanity to the monetary debate of inheritance.

Hunters Hill Theatre’s production of the play was simple yet effective. Excellent stage choices, great acting, and a cast that clearly enjoy each other’s on-stage company make this play a joy to watch.

When Dad Married Fury runs for two more weekends starting from 7:30 pm Friday 23rd June through to a closing matinee session on 2 pm Sunday 2nd July.

Spread the word on your favourite platform!

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.

This review also appears in On The House.

Spread the word on your favourite platform!