Windows open and close throughout Neighbourhood Watch — not just the ones in the set, but the figurative windows into memory, friendship, and history. Lally Katz’s much-loved Australian play shifts between a suburban street in 2007 and a war-torn Hungary decades earlier, balancing humour with moments of poignant drama.
In the role of Ana, Julie Quick holds the audience’s attention with a performance that invites curiosity and empathy. Ana’s sixth sense — her ability to sense danger — adds both humour and pathos, and Quick’s portrayal draws us into wanting to know more about the woman behind the defences. Ellie Schaefer brings sincerity to Catherine, Ana’s young neighbour, and shines particularly when stepping back in time to embody the young Ana. Taya Rose gives Katrina a layered portrayal, moving from guarded neighbour to quiet frustration and later to vulnerability. Rose also lends her beautiful voice to Sarah Bradley’s haunting original music, with Bradley herself on violin. Gail Morrison’s portrayal of Jovanka blends persistence and charm as the Serbian neighbour determined to share just one coffee with Ana.
All members of the ensemble — Dylan Megaw, Nathan Brown, Taya Rose, Gail Morrison, Matthew Chant, Christopher Cordeaux and Megan Robson — take on multiple roles, contributing to the tapestry of characters that populate both Ana’s present and past. Among them, Matthew Chant stands out for his striking contrast between the kindly local chemist and a far darker presence from Ana’s past — a performance that adds tension and depth.
The accents used by several cast members add authenticity and atmosphere, though occasionally a line or two was a little harder to catch, requiring attentive listening.
The production makes strong use of its set, designed by Don Oakley, with adaptable pieces and interchangeable windows allowing many locations to flow without lengthy scene changes. Director Lesley Reed has noted that the war-torn Hungarian past takes on greater presence on St Jude’s Players’ smaller stage. This is subtly supported by a back wall suggesting a Hungarian streetscape, which helps ground the audience in Ana’s past without overwhelming the intimate setting. Lighting design and operation by Xandra Roberts, sound operation by Thomas Batten, and costuming by Rosemary Taylor, Anna Siebert and team all work together to establish setting, time, and tone.
Moments of gentle humour are woven throughout, along with local touches that anchor the play in its time, complete with cultural references like “Kevin 07” and The West Wing. The music, particularly in the harmonies, adds a lovely texture to the storytelling.
With a gentle tempo, Neighbourhood Watch offers a thoughtful exploration of how the past shapes the present, inviting the audience to reflect on the extraordinary stories that can live quietly behind the most ordinary front doors. While the pace asks patience of its audience, the intimate performances and rich storytelling reward that attention.
Photo credit: Les Zetlein
