“I am sure others will see bold choices where I see fussy underlining of themes.” – Veronica Hannon
3 stars out of 5
Joan Lindsay’s 1967 novel about a trio of private schoolgirls and a teacher going missing became a cult classic. Eight years later, Peter Weir brought it to the screen. His chilling horror film with sun-dappled lighting made his international reputation. Even the monolith in the Victorian bush became a rock star, enduring visitors shouting “Miranda!” from its peaks. This stage adaptation by Tom Wright gives nod to our fascination with the story and promises a compelling reimagining of it. I cannot say this production entirely lives up to that promise.
Wright’s conceit is to hand over narration of events to five contemporary private schoolgirls. In episodic scenes, they imagine the lives of privileged teenagers such as themselves now long dead and the strange happenings on one hot afternoon in 1900. The women switch between playing the disappeared and their peers, their teachers and as time goes on, local townsfolk feeling the ripple effect of the tragedy. The central interest, for me anyhow, is how the community is changed but nearly everyone apart from the main protagonists are presented as caricatures. It does not help that lines are frequently swallowed, or sound forced, or the cast sometimes struggle with the poetic passages of the text. That said, Alana Birtles is fleshing out the tormented Sara and Alice Birbara is doing well capturing newly arrived Englishman, Michael Fitzhubert. Both will no doubt offer deft portrayals after another week of running the show.
The design speaks to the idea we are somehow retelling a darker version of the story, but the actors seem restricted in Victor Kalka’s set of narrow gum trees shot through with doomy light by Louise Mason. There is a soundscape to match by Patrick Howard. Composer Georgia Condon also contributes. It is all very atmospheric and heightens the tension but at times, also works against the performers.
I am sure others will see bold choices where I see fussy underlining of themes. The invitation to question how we tread upon our vast, ancient landscape is already present in the material. The emphatic tone running through director Sahn Millington’s production is unnecessary, and for me, lessens the impact.
There is without a doubt, a lot of talent on display here but I could not connect with this version at all.
