Frame Narrative

There’s so much to like about this first production by the new team at Sydney’s Old Fitzroy Theatre. Let’s start with the amazing setting by Soham Apte. It begins as a beautiful period European interior, with carefully matching accessories, but is soon ripped apart as an American movie setting, but then it becomes just another setting with removable walls for a play at – well, a Sydney venue like the Old Fitzroy pub.

On this expertly lit (by Spencer Herd), changeable set we first meet Anna (Megan O’Connell), a hard-bitten star of yesteryear, who tries to keep a persistent visitor, Elsa (Madeline Li), at bay. The two battle it out with their European accents, with the help of Hugh (Charles Upton), and it’s going nowhere.

But - flash! – the next scene reveals that it’s all been from a Hollywood B-grade movie, and Anna is trying to stage a comeback to her glory days. Elsa/Estee is now the monster, stalking her victim, and Anna is going down fast. Here is the Hollywood floor manager (Jennifer Rani), complete with headphones, trying her hardest to keep the show on the rails and not go over its smallish budget.

But that’s not all this play has to offer. In yet another twist, the pregnant playwright (Emma Wright) appears late in the day with a notebook full of comments which she attempts to share with the director (who turns out to be the previously mentioned Hugh). The playwright fights a striking battle for her right to make changes.

Megan O’Connell is very good as the fading star of yesteryear, and Madeline Li is equally effective as the next big thing – before we learn it’s all nothing like what we are expecting. 

Charles Upton grows with effectiveness as the play reveals more and more, and Emma Wright is extremely good in the final scene that turns the whole evening on its head.

This is the first production by New Ghosts Company, the new crowd at the Old Fitzroy, and it’s directed by Lucy Clements. It’s an absolute cracker.

Frank Hatherley

Photographer: Phil Erbacher