The Shifting Heart

This classic Australian play was presented by Stirling Players. A contemporary of Summer of the Seventeenth Doll, previously presented by director Tim Riessen at this theatre, it looks at Australian culture and prejudice against “New Australians” in the post-war period.

The set, built by Pauline Gibbs, represents the back yard of the Collingwood home of the immigrant Bianchi Family at Christmas 1956. A nicely produced set, some suspension of disbelief was required when characters speak from upper story windows, as Stirling does not have the stage height to accommodate this.

Fran Gordon’s costumes are gorgeous and appropriate to the era, but I feel she was not fully briefed, as one scene describes a character as being dressed in a suit - appropriate for a dance, when he is clearly not wearing one. John Woolrych’s lighting and sound was atmospheric with the lighting giving a great sense of the passing of time.

Peter Boylen and Kezia George were believable and had credible accents as Papa and Momma Bianchi, with Kezia in particular charting a strong emotional journey.

Rhys Lander was a standout as Aussie son-in-law Clarry, somewhat the protagonist of this story, working well with onstage wife Emma Gibb, playing the very pregnant, and outspoken Maria with emotion and flair.

 Son Gino Bianchi was played with passion by William Brook, belying his late addition to the cast, as I believe he only had a few rehearsals.

Good work from Elise Batchelor, a sympathetic figure as next-door-neighbour Leila Pratt, saddled with an abusive husband, but able to hold her own and care for others, while Darren Goodison had appropriate swagger as her drunken husband Donny. Sean Trainer completed the cast with authority as local Detective-Sergeant, Lukie.

A highly emotive show that requires its audience to listen and absorb, I was disappointed that at times the conversation from front-of-house volunteers interrupted the tension.

While performances were all solid, the pace was lacking at times. The show still managed to endear itself to audiences and attracted some good crowds - especially at matinees.

Kimberley Shaw