All Sorts

While I have never been fond of Liquorice Allsorts, this One Act Play season by Darlington Theatre Players is a treat that I really enjoyed. Named in honour of the popular confection (and with a themed cocktail available at the bar), this season of one-act-plays fulfills its promise of having something for everyone.

Too Many Daughters by Claire Epstein is a funny and clever Jane Austen spoof, that contains all our favourite Regency era tropes. The Ashworth Family are upper-class but poor and have been blessed or cursed with “too many daughters”, none of whom can inherit the family estate. The mother Florence, a wonderfully fussy and overwrought Rebecca McRae, is intent on her daughters marrying well, but father Nicolas, a delightfully ineffectual Paul Cook, can barely tell his daughters apart.

We are told that there are thirteen Ashworth daughters, but we meet only seven, with the eldest two, Imogen – beloved of her cousin and family heir (a convincing Chloe Wiggers) and Henrietta – who loves a very wealthy man for his mind (a dynamic Evie Madeleine) forming the crux of the story. The other daughters are played with lovely dignity and mannerisms by Brianna Thompson (Cordelia), Meg McKenzie (Felicity), Georgia Stidwell (Anne), Sienna Stidwell (Charlotte) and Olivia Keary (Margaret).

Characterisations, albeit broad stroke, are strong – with Gavin Crane and Sophie David excellent as repugnant snobbish cousins Alistair and Gwendolyn Blackwood. Kieran Ridgway channels his best Mr Darcy as rich and handsome Cecil Thorborn. Candice Preston chews the scenery in the best possible way as elegant but obnoxious Lady Thorburn, Chris McRae makes the most of limited stage time as Peter Billingsby, while Tim Jagot makes an impressive stage debut as the family servant.

A beautiful looking play, furnishings are lovely and appropriate to the era, while costumes are exquisite, rivalling the best of the regency era films.

Wickie on the Wind is a locally written play, directed by playwright Chris McRae. The story of Albany lighthouse keeper John Reddin, played in human and ghostly form by Grant Malcolm in an outstanding performance that is both nuanced and genuine. Many descendants of Reddin, from all over WA and some unknown to each other, were at the first matinee – which obviously made for a special performance.

Strong support came from child actress Harper Ranger, very sweet as Reddin’s daughter Elsie, and from Alexandra D’Ulisse as yachtswoman Jennifer Smith.

A stunning set – especially for a one act play - it includes a lighthouse designed and built by Steve and Zac Moloney. The show features music sung by the Albany Shantymen and well-chosen of-the-era costumes by Marjorie DeCaux. Wonderful to see a new play that features Western Australian history.

From ghosts to horror, One Lane Bridge, perhaps the darkest of Stephen Gregg’s plays, is directed by Adam AJ Giltrow (assisted by Ellien Warden). Set in a car on a lonely road, the set (designed by the director), again superb, features a car and continually moving trees on two revolves (manually operated by Kieran Ridgway and Candice Preston – who deserve great respect). Sophisticated and atmospheric lighting and sound was designed by Devlin Turbin and Ellien Warden. This play has Twilight Zone or Black Mirror vibes and is more than a little unnerving.

Keaton Humphreys anchors the show with likeability and strength in the central role of Eli, a 16-year-old newly independent driver, who starts exchanging horror stories with passenger Samantha (nicely played by Jessica Wilkins). As they banter the show becomes increasingly twisted and concerning. A small ensemble, Sean Wcislo. Peri Watson and Beau van der Beeke provide narration and play beautifully crafted cameo roles.

While the superb soundtrack (and air-conditioning) occasionally mutes voices, this is a strong production that has the audience on the edge of their seats.

Kimberley Shaw