“powerful … impeccable cast … captivates”
Alethea Mouhtouris
5 Stars
Venue: Old Fitz
Sydney
Dates: Until October 3rd.
Dixon & Daughters is one of the most powerful productions I’ve seen all year. An impeccable cast tells a story that hits hard at multiple levels – a difficult mother, sibling spats, family abuse, and lifelong deep-seated grievances.
First performed in London in 2023, Dixon & Daughters was written by British playwright Deborah Bruce. While set in northern England’s Yorkshire, the play’s themes cross continents and generations. This is a women-focused play which highlights the often-impossible roles we’re given; for many of us, they’re roles that follow us throughout life, and this adds to its clout.
The story centres on Mary (Vanessa Downing) who has been recently released from prison and her fraught relationship with adult daughters, alcoholic Julie (Romney Hamilton) and responsible Bernie (Linda Nicholls-Gidley). The situation is complicated by the presence of Briana (Sarah Jane Starr), who Mary blames for her imprisonment, and Leigh (Rylea Eilis), a former fellow prisoner who seeks shelter with Mary.
Mary rages at both her daughters but her main target is Julie who, she says, is worthless.
As Mary, Downing is superb – she carries the character with barely held restraint as inner rage simmers, reflected through tightly pressed lips and fierce gaze. She’s unyielding, with the occasional explosion as she hurls cruel words at daughter Julie, but Downing doesn’t permit that to last too long; she draws herself back in and the physicality of this is subtle but present.
Downing skillfully balances her characterisation of Mary as narcissist, abuser, and victim. It’s a complex portrayal that permits the audience to realise the nuances of her life, and how she could have failed the children. Narcissism is a character failing in any person but particularly in a parent as it leaves long-lasting consequences, with comments like the toxic “Everyone would be happier if I was dead”.
But Downing also reveals a touch of potential – the glimpse of a tender mother in Mary as she cares for Leigh, a scrap of a girl she met in prison. But it’s a glimpse only – there’s no place for that with the existing adults. It’s a masterclass in complex character build.
Meanwhile eldest daughter Julie appears to be a ratbag with too much love for the bottle. She’s recently left her abusive husband and has been staying at Mary’s while she’s been in prison. Hamilton plays a fractured Julie with nuance and care. She’s disturbingly child-like, petulant, without any accountability or responsibility, and at odds with her actual age of 41. When it becomes clear why the character behaves as she does, Hamilton is devastating in her grief.
Linda Nicholls-Gidley plays the younger sister Bernie, who fulfils but resents her role as the most responsible one in the family. Nicholls-Gidley is fierce and intense, showcasing the character’s role as the family boss, and hating it at the same time. This is a difficult space to occupy, yet Nicholls-Gidley handles the role extremely well. Her no-nonsense mannerisms and expressions are so spot on, it’s familiar to anyone who’s been at the other end of this type of daughter (or has had her as a mother!). Danette Potgieter plays Bernie’s daughter and college student. She’s obedient and conciliatory, even while carrying troubles of her own. Potgieter is luminous in this role. Her emotions are raw and sit on the surface. Potgieter can conjure up tears, not an easy thing to do, and smile through them so you get a real sense of the conflict that sits within young adults trying to make their way through a difficult world.
As Briana, Sarah Jane Starr is compelling. Briana, who changed her name from Tina, starts off as an off-kilter presence whose place is to highlight the unsettling atmosphere in the house. Starr imbues Briana with presence and determination; she doesn’t allow Briana to overpower key scenes but she does make her presence felt.
The humour is largely brought by Leigh (Eilis) whose wit takes the edge off the harshness of the play’s themes. Eilis is perfectly suited to this role – she’s quick, edgy, defiant, but she also carries an essence of vulnerability. It might be tempting to treat Leigh as just another street kid – but Eilis has been careful to portray her kindly, and this gives the character much more meaning.
Costumer Amelie Brown has clearly put much thought into clothing choices. Mary is dressed in a plain but tidy skirt and jacket; Julie wears a juvenile pyjama outfit while sensible Bernie dons a sensible skirt and cardi.
Mia MacCormick’s clever multi-level set is a mix of order and chaos, mirroring the lives of the characters.
Kudos to the person who did the makeup. The bruises on two of the characters looked startingly realistic.
Director Kim Hardwick deserves much credit for this production. Dixon & Daughters is tight, well-paced, it captivates the audience, and kept the opening night audience on the edge of our seats.
photos by Campbell Parsons
Alethea Mouhtouris, Theatre Now
