The Haunting

Are there ghosts afoot or is it merely synchronicity that sees two terrific ghost stories brought to the stage with days of each other, despite a year or more of planning?

The first is the more famous main stage The Woman in Black – with its two charismatic stars, John Waters and Daniel McPherson. Following closely behind, and with a miniscule fraction of the budget, comes Tugun Theatre Company’s community theatre production of The Haunting, a play by Hugh James adapted from several ghost stories by Charles Dickens. Both are essentially two handers and succeed in their own way and for their own demographics - but if you ask me which has the most genuine thrills and terrors, then Nathan Schulz’s modest production at Tugun wins hands down.

The story is a standard one - young(ish) lawyer/book buyer comes to remote house which holds dire secrets and is haunted by the ghost of a young woman who lived there and needs to have her spirit set free.  There’s not a lot of importance in either story apart from those facts.

Schulz, despite the shortcomings of the venue, has designed a beautiful and atmospheric set, lavishly dressed by Anita Nieuwland, Cecile Campbell and Darren Campbell. The thrills are many and mostly because all sound effects and other surprises happen live - no cued pre-recordings which may limit the actors timing. It gives a sense of spontaneity and credibility which keeps the audience guessing throughout. Was that book meant to fall at that moment? Did the candles light automatically just as he reached for a match by design? Even I was fooled on several occasions – and I am old enough to actually be a ghost.

Added to the meticulous craftsmanship of the direction and production per se, come two exemplary performances by two actors who are new to me but whom I cannot wait to see in their next productions.

Lance Hawkins brings a stack of professional acting credits to the role of David Filde, the seemingly unassuming book dealer whose secret agenda is to find out what happened to his sister. He has natural stage presence and a fine range of body language and expressions that go far beyond the text itself. This is an actor of great credibility who even uses the sometimes-overlong stage pauses to show the thinking process and emotions bottled within the character. It’s his first show on the coast and it is hugely impressive. I expect we will be seeing many performances from this fine addition to the local acting community.

Graham Scott – a stalwart at Tugun - is perfect casting as Lord Gray. His elegant presence, meticulous diction, and booming grandiose basso voice are everything a director could wish for in such a role. I am told he recently played a very hairy bunyip to great acclaim. Bunyip, Schmunyip! Scott was born to play English gentlemen of authority. He does it brilliantly and seemingly without effort. These two actors own the stage without competing. Each respects the other’s ability as well as their director’s vision, and Schulz maintains a clear vision throughout.

There are also three very fine cameos by uncredited actors – another testimony to the special ethos which governs community theatre.

There is even an original score by Vid Z. Roman, cleverly orchestrated by Nathan Schulz (does the man ever sleep?) and the indomitable Cecile Campbell.

Front of house is handled my old Stage Whispers colleague Roger McKenzie and a host of volunteers. If you really want to do something worthwhile, volunteer at your local Community Theatre.

Once again Tugun punches above its weight in this worthy production which deserves every success.

Coral Drouyn