Tracks After Twilight – Tales in the Shadows Rating
★★★★★
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“It’s too late to leave, the door is already locked.”
These chilling words set the tone for one of the most innovative and immersive theatre experiences you’ll ever experience this century, or the last century for that matter.
As rail mysteries of the yesteryear are revealed at The Railway Museum, there couldn’t be a better setting for “Tracks after Twilight – Tales in the Shadows.” As you’re guided among the historic carriages and locomotives, you’ll start to picture the harsh conditions railway workers once endured. You’ll also gain a sense of what rail travel was once like, especially when piled into a crammed carriage where the air is thick with the ghosts and eerie tales.
Any romantic notions of railway travel may be dispelled, or heightened, depending on your leanings. As you’re taken back to a time way before public transport was taken behind the safety of mobile phones and noise-cancelling headphones, you’re confronted with the quirks of your fellow passengers for a train ride unlike any other.
Held alongside the Midland train line at The Railway Museum, and run by Rail Heritage WA, the modern trains whizzing by further add to the atmosphere and juxtaposition of the past and present.
Without giving too much away, the allure lies in the creepy surprises. So be prepared for nocturnal moans, audience participation and partial nudity as you’re regaled with stories inspired by real events, with plenty of artistic licence thrown in for dramatic effect.
Speaking of, Elite Audio Visual Productions cleverly designed the chilling effects, shrouding the actors in mystery right up until the door is unlocked and you’re released from the shadows of the past and back into present-day reality.
Reviewed during the preview, there were a few technical issues still to be ironed out, and at times, the stories felt a bit disjointed as the narrative moved between the carriages. Nonetheless, the performance was entertaining, and anyone with a love of trains, history and drama will appreciate the immersive storytelling set among WA’s historic trains.
Keep the rail theme going by popping into a train carriage for a burger at Alfred’s Kitchen, two train stops away in Guildford.
This first showing of Tracks After Twilight is completely sold out, but pay attention to the Railway Heritage Museum for future show runs of this innovative theatre style. In the meantime, checkout their website for more information @ https://www.railheritagewa.org.au/.
The Australian backdrop, twisted characters, and a gothic tone. The Hanging, written by Angela Betzien and directed by Aimée Cavanagh is one that all thriller-lovers would hate to miss.
Discover the secrets that surround teenage Iris, her boarding school English teacher, and the detective in charge of finding Iris’ two missing friends. Watch as the characters evolve before your eyes, listen to the dynamic changes in cadence, and experience the horror of the devolving mystery.
With unique stage design, simple lighting cues, and basic sound changes, the actors use little aside from their voices and realistic characterisation to immerse you in their world, leaving you no choice but to focus on the very parts of the play that you may not wish to see.
If forced, I would be hard pressed to choose a star of the show, with all actors giving their very best to the roles given to them, and working together to surprise the audience as they examine the human condition and all that is ugly to witness, yet captivating to see.
With an homage to the classic Australian text ‘Picnic at Hanging Rock’, The Hanging is a play that, while short, is one I can see becoming one for the ages, and the cast and crew at Maitland Repertory Theatre Company did a spectacular job bringing it to life.
Warnings: contains references to drug use, child abuse, suicide, pregnancy, termination, descriptions of gore, and coarse language.
‘Various Characters’ is an aptly titled play that explores the emotional terrain of six individuals, each living in their own world and caught in the tension between isolation and connection. Their lives – diverse, troubled, and at times tender – intersect by circumstance, creating a tapestry of modern identity, dislocation, and longing.
Set in early 21st-century Sydney, the play touches on themes of multiculturalism and cultural identity, exploring how difference both separates and defines us. Through these characters, we glimpse the struggle of living in a society where connection is craved but hard-won.
Each character wrestles with personal transformation. Nina (Georgia Da Silva) is plagued by uncertainty and fear; Raoul (Tony Goh) stumbles through his inability to express himself and fit into the community; Mile (Tate Wilkinson-Alexander) grapples with identity and the burdens of responsibility. Boris, played with wide-eyed charm by Maliyan Blair, lives in a romantic fantasy. Zita (Nashy MZ) attempts to exert influence on the world around her, while Greta, portrayed with particular depth by Kate Bookallil, seeks to rewrite her future and reclaim a sense of purpose.
Bookallil’s performance as Greta, a Croatian mother, is a standout – rich in authenticity, expression, and control. Her presence brings emotional gravity to the piece. Blair’s Boris is also noteworthy, his youthful optimism providing contrast to the more subdued characters.
Though engaging and evocative, the narrative at times lacked clarity. Some character motivations felt opaque, leaving the audience uncertain as to why certain events unfolded. Still, the emotional beats mostly land, offering poignant moments of insight.
Technically, the production was tight. Set changes were executed smoothly in near darkness, a testament to the cast’s discipline. The minimalist staging adapted cleverly to both indoor and outdoor settings, and the restrained use of music helped maintain focus on the dialogue and action.
Performed at Flight Path Theatre – appropriately named, given the frequent sounds filtering in from low-flying planes – the two-sided amphitheatre ensured an intimate viewing experience, with every seat offering proximity to the stage. The theatre holds 90-100 people and has a bar with snacks. The demographic of the crowd was mostly younger with a mix of ages and ethnicities.
Written and produced by Šime Knežević and directed by Victor Kalka, ‘Various Characters’ offers a glimpse into lives trying to make sense of themselves and each other. While not every thread resolves cleanly, the performance is heartfelt, timely, and thought-provoking.
“She Kills Monsters,” is a tale of Agnes, a High School teacher who is grieving the loss of her younger sister, Tilly. When packing up her sister’s room, Agnes find a notebook that contains a DnD world of Tilly’s design. Seeking to truly understand who her sister was, she seeks the help of a goofy DM, Chuck, who leads her through this creation in the hope that they can uncover what Tilly had left behind. Secrets, friends and life lessons lead Agnes to not only learns about her sister’s creative and courageous life, but how she can honour Tilly through her own.
This production, directed by Brenna Corben and written by Qui Nguyen (2011), gives a comedic tribute to the world of role-playing, tabletop games and the people who play them. Re-set in a Queensland, fictional town, it was great to see the way the different characters were being represented and how they interacted with one another. From the costumes, simple yet classic, to the way they were presented in Tilly’s world vs “real life.”
The sound and lighting included basic but reasonably varied lighting choices, that served the purpose of each scene. While the transitions could have been smoother, overall the media and colours used added to the theatricality of the production. In particular, the audience thoroughly enjoyed the voice overs overlaying the transitions to scenes in the school setting. The Australian references were enjoyable and easily identified, while also paying tribute to memories of our schools days. Overall, the audience engagement was highly positive and jovial, laughing at each joke wholeheartedly and enjoying the musical additions when applied. For example, at the sound of the “Friends” theme song, a majority of the audience knew to clap at the end of the first line.
The stage design incorporated the fantasy theme through their use of vines and platforms decorated in a faux stone wall covering. A table was placed center stage, while three block were placed around it, two of which raised slightly higher than the block behind. While there were times where the blocks seemed under-utilized, the stage design was adequate for each scene and required minimal movement adjustments for the different scenes. It was an interesting choice to turn down the lighting between each scene, as the transitions could have been smoother without the need for a lighting change.
The use of space and dynamics were particularly interesting in the way that Chuck, the DM played by Cristian Stanic, would sometimes move in sync with what was happening in the DnD world, as though they were attempting to illuminate what was happening through true DM style. Being surrounded by the DnD characters, Lilith (Laura Renee), Kalliope (Erin Hall), Orcus (Amber Lawson), Tilly (Genevieve Whittred) and Agnes (Alyssa Byrne), this seamlessly integrated into the story. The scene with the “final boss,” was especially enjoyable, as the use of LED lights in the eyes of the dragon and the choreography added a dynamic and theatrical effect that tied the show in a neat bow.
There were moments that the use of blocking (planned positioning of actors on stage) could have used some adjustments. There were moments when an actor’s back was to the audience or one actor stood behind another, their face being obstructed from the view of the audience while giving lines. While this can sometimes be utilized for dramatic effect, it seemed out of place and unpolished in these instances. This also meant that at time, the bounds of the scene were made unclear as it related to moments that were supposedly shared by only one or two actors. Was a scene meant to be private or did it occur in front of the rest of the party?
The actors that were most notable included those in the roles of Tilly, Lilith, Miles, Orcus and Agnes. The role of Tilly (Genevieve Whittred) was a great depiction of a teen who was trying to figure life out and how she hopes to enjoy it. When following Tilly’s highs and lows throughout the play, Whittred allowed us to witness a portrayal of Tilly that depicted a free-spirited, direct and creative youth who gave her friends a means to escape their current realities. Renee’s portrayal of Tilly’s love interest, Lilith/Lilly, was especially notable as their struggles were uncovered over the course of the play. It was wonderful to see the layers of the character unfold in her depiction of Lilly and how she interacted with Agnes in the latter half of the show, to be contrasted with the blunt and beautiful, demon princess that was Lilith’s character in the DnD realm. It would have been nice to see Lilith’s character explored further through conversations with Agnes or other members of the party.
A similar note can be made about the roles of Miles (JJ Jones) and Orcus (Amber Lawson). The audience found the comedic addition of Orcus’ character thoroughly enjoyable, however did not see too much character development where he or Miles were concerned. Jones played a highly believable Miles, who challenged Agnes when they shut them out of their journey. Both actors played interesting roles that could have been explored further to uncover more emotional depths, and about Agnes’ grieving process or Tilly’s friendships. While the actors were limited to the script material, they did a commendable job in their performances.
Alyssa Byrnes’ portrayal of Agnes offered exactly what one may expect from a grieving, avoidant elder sister. Agnes’ reluctance to face her emotions, difficult truths about Tilly and her relationships were adequately expressed through Byrnes’ facial expressions and body language, which opened up more as the play continued to follow Agnes on her journey with her grief and newfound comrades. While there were times where I felt Agnes lacked the appropriate level of energy for the scene that required it, the overall portrayal was believable and ended strongly. This was especially evident in the few scenes between herself and Lilly, as well as the scene with the “final boss,” the multiple-headed dragon at the end of her quest for Tilly’s spirit.
I am interested to see how each of these crew and cast members evolve in future productions and am eager to see what worlds they venture to next.
