Cracks in the mirror
Unashamedly a staunch supporter of Parkes theatre productions, I had high expectations for this original production of Cracks in the mirror, written by Lyn Townsend, with music composition by Gail Smith. Townsend has always had a special ability to bring out the best in her cast and this production was no exception. I was invited to the preview show, a tight and polished performance that left no doubt they are ready for an audience.
The logo immediately informed that the characters would have two dimensions, one they let others see, and one they hide. It’s strikingly effective, instantly recognisable and perfectly suited to this production.
The sign of a good playwright is one who can take the characters and shape them into a theatrical experience that the audience can connect with and relate to. Townsend took her literary responsibilities seriously and devoted ample time and research to ensuring authenticity on the page, which then transferred to the stage. Tackling some very topical storylines the production gently educated, all the while entertaining the small but appreciative crowd with humour that was for me, often reminiscent of the movie Muriel’s Wedding.
Cracks in the mirror plays out (mostly) in a two-star motel room on the morning of Ally’s wedding. She and her bridesmaids, sister Payten, cousin Laura, and best friend Quinn are preparing for the ceremony which has been planned (taken over) by their mother, Astrid. Each of the girls outwardly project an illusion of their seemingly happy lives to each other, but it’s not long until the metaphoric ‘Cracks in the Mirror’ begin to show.
Maddison Collits is aptly cast as the bride-to-be, Ally. With the perfect mix of vulnerability and naivety, this role could not be further removed or more different from the part she played in Townsend’s previous production of Turning Tables, proving Collits’ ability to portray different characters with ease. Emotively, Collits nailed her role, particularly when the big plot twist played out in act two. No one saw that coming!
Ruth Barnes plays the despotic and controlling mother of the bride, Astrid, a character that we will all identify with at least one person in our family! The challenge for Townsend was to ensure Astrid’s acid tongue was never pushed beyond redemption, for her secret is a burden that many of Generation X will identify with. While ‘My Buttercup’ contained some very clever (albeit cheeky) lyrics, Barnes’ ‘Mama knows best’ was definitely an audience favourite.
I was surprised to hear that this was Amelia Regnier’s stage debut in the role of (non-binary) Quinn, after playing trumpet in previous productions. This part would be difficult to hone, even for a seasoned performer, and Regnier didn’t just play it, she embodied it! This young lady has quite the career ahead of her, if you can keep her out of the band pit!
Kimberley Ryan as the mother of five (and a half) children, was always going to be a standout. Obviously the most experienced of the cast, she performed her role with the ease and confidence of a Broadway superstar. Ryan’s vocal strength is evident in the power ballad ‘Who am I’ and will bring the house down on any night of the week.
Jade McGovern is another relative unknown in theatre circles, playing what I considered the most difficult role of Payten (famous as Luna Lawson). McGovern certainly achieved the air of austerity, befitting someone who has reached the pinnacle of their career, but it wasn’t long before the cracks in the mirror reflected just how broken she really is. McGovern’s ‘Staring at Shadows’ was sung with a frailty that would tear even the most hardened heart clean out of its chest.
I have to pay particular tribute to the five-piece band under the musical direction of Anthony Leonard. Composer Gail Smith supplied some pretty impressive tunes and her and Leonard’s arrangements were exceptional. There is not a strong enough superlative to adequately describe the quality and contribution made by the five outstanding musicians. While the scripting cleverly weaves the storylines, the music is undoubtedly the glue that bonds this entire production. In popular musicals, you generally have one song that stands out, that the audience will lie awake with the tune stuck in their head. It’s difficult to pick a favourite, such is the quality and variety in music styles. But for me, the title song, ‘Cracks in the Mirror’ was a standout, cleverly interspersed throughout the production. It is so beautifully written, telling each girl’s story in the most perfect way.
The set is simple, designed and built by Russell Tanswell and Brian Townsend. This show is not plagued with tedious set changes – there aren’t any!
There is much to celebrate in this musical masterpiece, one that will most certainly be a triumph for Townsend and Smith. Their intention to market to other theatre groups will undoubtedly meet with some level of success. Created with deliberate simplicity in production elements, I can see theatre companies across the country embracing it as an alternative to the larger, more expensive productions. Clever, topical storylines, powerful ballads, catchy, toe-tapping tunes, and music that crosses multiple genres and would sit nicely on any Spotify playlist.
Cracks in the Mirror is an exceptionally well-written production.
I suspect it may be the first of many for this talented pair.
Robert Cocks
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