Strangers on a Train

Strangers on a Train is the thrilling adaptation of Patricia Highsmith’s novel, by Craig Warner. Highsmith is well known for her sinister plots and entangled webs, and this is no different. Two strangers (yes on a train) become entangled in a murderous pact which comes to life on stage. From the very opening scene - a glimpse of a solitary traveller, the soundscape of a train - I felt a chill and the sudden appearance of the ever lurking antagonist that made me jump. This one thrills as much as it intrigues. 

The two central figures, Guy Haines (Hamish MacDonald ) and Charles Bruno (Roy Wallace-Cant), are flawed and complex. Guy, a successful architect trapped in a web of deception, is portrayed with nuance and vulnerability, making his moral dilemma palpable to the audience. Bruno, on the other hand, exudes a chilling charisma and unpredictability that are both mesmerising and terrifying to behold. Wallace-Cant’s physicality and facial expressions are brilliant. The interplay between these two crackles with intensity and forms the crux of the narrative, propelling the plot forward.

A diverse cast of characters adds intrigue and suspense to the narrative. Anne (Rachele Edson), Guy's conflicted wife, is played with a sense of emotional depth and vulnerability, as she grapples with her doubts and fears. Bruno’s mother (Jane Wallace) leaves us questioning her motives and relationship with her son, which have undoubtedly played into his psyche. Arthur Gerard (Christopher Brown), the astute detective, sharply contrasts Bruno's volatile personality, offering stability and rationality amidst the chaos while slowly tightening the noose. Although we don’t see poor Miriam, the ill-fated love interest, she serves as a poignant reminder of the consequences of manipulation and deceit. The ensemble also features Krishae Senthuran and Cris Bocchi, whose characters’ story interconnects and leaves the audience to consider human relationships in the face of danger and deception.

Strategic blocking and movement enhance the power dynamics between the characters, creating an engaging sense of tension. At the heart is the dynamic portrayal of the characters and this cast have smashed it out of the park. 

Director Mark G Nagle’s decision to stage the action on a compact, minimalist set (designed by Gregory George) adds to the claustrophobic atmosphere of the play, intensifying the sense of unease and paranoia that permeates. The cast swiftly change basic set pieces between scenes ensuring the focus is not lost. 

The decision to set the action in Australia also draws the thriller ever closer to our own backyard. Bad things happen universally and although Nagle leans into the noir of old Hollywood, it feels very current and relevant. 

As Guy and Bruno circle each other, the audience is reminded of the inescapable connection that binds them together and the cyclical nature of guilt and retribution.

From the eerie shadows that cloak Bruno in malevolence to the harsh, unforgiving light that exposes Guy's inner turmoil, the lighting design (Michael Schell) expertly conveys the psychological intensity of the characters' journeys. The interplay of light and shadow creates a sense of duality, blurring the lines between hero and villain. The sound, also designed by Michael Schell, punctuated some great moments throughout the play, from the rolling train to haunting melodies and a single gunshot. 

This is a triumph of modern storytelling, blending intricate character dynamics, perfect staging, and evocative lighting design, succeeding not only in capturing the suspense and intrigue for contemporary audiences.

Strangers on a Train is a must-see production with compelling characters that shine through in this gripping adaptation, offering a thought-provoking exploration of morality, guilt, and the dark depths of the human psyche. Well done to the team at Genesian. This one packs a punch!

Nicole Smith

Photos: LSH Media.