A class in atmosphere, ensemble and theatrical storytelling
Walking into Pomona, I wasn’t quite sure what to expect. Alistair McDowall’s fractured, non-linear script has a reputation for being challenging, and it certainly demands an audience willing to lean into ambiguity. What I wasn’t expecting was a production of such confidence, imagination and theatrical craftsmanship. This Adelaide Theatre Guild production is top-drawer theatre.
Director Thomas Midena embraces the complexity of the script without ever trying to simplify it. Instead, he trusts both the material and his audience, allowing the mystery to unfold while maintaining an emotional thread that keeps the story compelling. The result is an immersive theatrical experience that lingers long after the final blackout.
Midena’s filmmaking background is evident throughout. This is not theatre attempting to imitate film, but theatre borrowing cinema’s understanding of rhythm, image and atmosphere. The interplay of lighting, sound and set creates a world that is as unsettling as it is captivating. Darkness becomes tangible, spaces feel oppressive, and whispered moments reveal as much as the dialogue itself. Scene endings are beautifully crafted, allowing each moment to literally whisper and breathe before the next fragment of the story emerges.
The technical design is exceptional. The soundscape (music and sound) is one of the production’s greatest achievements sometimes almost imperceptibly subtle, at others dynamic and deeply impactful. It doesn’t merely support the narrative; it becomes another character within it. In a play where location is central to the story, the sound gives Pomona its own voice, creating an environment that is constantly present, constantly watching, and impossible to ignore.
The lighting design is equally accomplished, defining shifting locations and emotional landscapes with precision. Combined with an ingenious set that makes superb use of the intimate Theatre Guild space, the production demonstrates how creativity flourishes within limitations. Every design element works together seamlessly, never overwhelming the performers but constantly enhancing the storytelling.
The ensemble is outstanding. Pomona asks actors to move rapidly between characters, time periods and emotional realities. Those shifts require extraordinary concentration and commitment, and this cast rises to the challenge with remarkable confidence. Each performer remains fully present in every moment, creating distinctive characters while ensuring the fractured narrative remains emotionally coherent. Ensemble work of this quality is often overlooked because it appears effortless, but it is anything but.
With an ensemble of this strength, singling out individuals almost feels unfair. Every member of the company contributes significantly to the success of the production.
However, two performances deserve special mention. Jessie Chugg delivers a wonderfully honest performance, combining impeccable comic timing with complete commitment to the role of Charlie. Even amid the play’s unsettling atmosphere, she finds moments of humanity that ground the audience before the story slips once more into darkness. It is a confident and deeply engaging performance. Macey Lawson (Zeppo) has the unenviable responsibility of opening the production and immediately drawing the audience into McDowall’s fractured world. She does so with remarkable assurance. Her pacing is superb, her physical and vocal expression are beautifully controlled, and every acting choice feels deliberate and truthful. She sets the standard for the evening from the very first scene.
As someone who grew up in and around Manchester, I particularly appreciated one creative decision. Rather than attempting the distinctive Manchester accent, the company wisely chose not to. It would have been an easy trap to fall into and, had it not been executed perfectly, could easily have become a distraction. Instead, the focus remained where it belonged, on the relationships, the storytelling and the emotional truth of the piece. It was a thoughtful choice that paid dividends.
Finally, a word about the presentation surrounding the performance itself. I rarely comment on theatre programs, but this one deserves recognition. Beautifully designed and thoughtfully curated, it reflected the same meticulous attention to detail evident on stage. The foyer display of production photographs was equally impressive, and even the cast biographies featured portraits lit with the same striking backlighting aesthetic that echoed the visual language of the production. These details may seem small, but collectively they demonstrated a company committed to excellence in every aspect of the audience experience.
Pomona is not an easy play. It asks questions rather than providing neat answers, and it challenges its audience to embrace uncertainty. In the hands of Thomas Midena and this exceptional company, however, it becomes an engrossing, immersive and deeply rewarding piece of theatre.
The production runs for another week, and I would strongly encourage audiences not to miss it. Adelaide Theatre Guild has delivered one of the most accomplished productions I have seen this year – boldly directed, impeccably designed and performed by an outstanding ensemble. This is theatre that trusts its audience, rewards their attention and reminds us of the power of live performance at its very best. Great job!
