Interpreting the complexities of The Lovely Bones would challenge any theatre company. Director Jamie Hibbert and Pulteney Grammar’s Year 12 Drama cast took on that challenge and succeeded to a high degree.
Played within Hibbert’s well designed set on two levels, with carefully lit points of focus right, left and centre, the play told the story of the capture and murder of teenager Susie Salmon, and followed her in the afterlife as she witnessed the way her family, her community and the law tried to solve the crime – and come to terms with her loss. It’s a play of serious content with thoughtful concepts and some deep emotions, specifically grief, anger and frustration.
The cast handled the more intense emotions remarkably well. Not only did the individual cast members act well, they did so within a deliberately crafted choreographic framework which required strong focus and acute ensemble work. Indeed, this was the best, most structured and compelling ensemble performance I have seen for some time. From the writhing tableau of the opening scene to the final subtle, slowly evolving ending this was a compelling visual and vocal achievement. No moment on stage was wasted by any performer but there was never a hint of up-staging the person in focus, wherever that person was at the time. Each player complemented the others with a rare sensitivity.
Freya Callahan was most impressive as Susie. She had a convincing manner in the role, and showed control and fine stagecraft in her movements around the other characters who, almost exclusively, couldn’t possibly see or hear her following her death. She readily conveyed the frustration of not being able to tell the others what she knew, and had the audience feeling the same way.
Guiding Susie in the afterlife was Franny, a welcoming figure at heaven’s door. Lily McDougall portrayed the character with empathy and sincerity. She also was successful in bringing out the character’s wisdom and goodwill.
Susie’s family, at times fragmenting after her disappearance, were critical to the mood of the play and the progress of the plot. Liam Goodes as Jack Salmon and Sophie Fonovic as his wife, Abigail, worked well together. They showed the variety of responses to the harrowing loss of their child – the father persevering with the pursuit of the case, and the mother more prepared to move on – and even away. Taylor Schwartz was strong and sensible as Susie’s sister, Lindsay and Hannah Wandsworth added compassion and insight as her friend Ruth.
Holly Williams, mother of Susie’s intended boyfriend, has an important role in the narrative, being someone outside the family. Ellen Heard adeptly brought out her generosity, concern and good sense.
Anna Dalby did well as Lena Fenerman, the investigating police officer. She was steadfast in insisting on the need for evidence, and showed strength of character in standing up to Jack’s theories during the investigation. It’s a difficult role, well played, frustrating all the other characters – not to mention the audience – when taking another tack would have uncovered the truth earlier.
Hannah Douglas was unsettling as the murderer, Georgia Harvey. She played the role with subtle menace, concealed beneath a veil of concern and decency. Her performance was all the more believable because of the restraint, using facial expression, especially the eyes, with impact.
Taken together, this was a fine performance which held the audience’s rapt attention for the entire 90 minutes.
