Athenaeum Theatre, Melbourne
Reviewed on June 16, 2017
This review contains possible spoilers
Charles Dickens (1812 – 1870), is widely – considered to be the greatest novelist of his era. The Englishman enjoyed tremendous critical and public success during his lifetime, and as a testament to the writer’s prolific output, immense talent and international reach, Dickens’ work is still in print circulation around the world to this day.
Many of his stories have been adapted for television, film, and stage, including A Christmas Carol, A Tale Of Two Cities, David Copperfield, Great Expectations, Hard Times, Nicholas Nickleby, Oliver Twist, and The Mystery of Edwin Drood. Dickens’ influence doesn’t end there. Several too, have been reimagined with the inclusion of songs, as live theatre and movie musicals.
The Haunting is a smart amalgam of five lesser – known ghost stories, (and according to the show’s production notes), including elements of Dickens private life, his books and letters. Of key interest, the author was intrigued by spiritualism, especially charlatan mediums and their dubious reputations for sleight of hand and deceptive trickery.
In the spirit (pun intended) of Edgar Allen Poe, Henry James, and Susan Hill, Hugh Janes’ seamless script is the springboard for this fascinating, high – concept outing. Drawing on Janes’ passion for Dickens’ work and the supernatural world, The Haunting is both loving tribute and a solid, stand – alone thriller.
Everyone loves a spooky story, and judging by the appreciative reception given by the opening night audience, Prince Moo Productions is on to a winner.
Dripping with atmospheric detail and delicious split – second stagecraft, this delightful two – hander will keep viewers of all ages enthralled. It has to be said that at certain points during the show, my plus – one for the evening and I, were literally clutching each another, perched on the very edges of our seats.
In terms of maximizing the experience, this reviewer’s best piece of advice would be for audiences to pay full attention to the story being told on stage. With the narrative’s full disclosure eventually being shared and revealed between the characters, viewers will be well rewarded for their efforts. Meaning, there is a delicious and satisfying twist waiting for everyone to enjoy right by the finish line.
With this show, the veteran television, film and stage actor, Cameron Daddo, has grown up before our very eyes.
Beginning his varied career in as a spokesmodel on the local series, Star Search, he went on to host Australia’s Perfect Match, as well as featuring in such U.S. shows as Models Inc., F/X: The Series, 24, The Mentalist, and NCIS. For stage, Daddo starred in Big River, I Hate Hamlet, Legally Blonde, and The Sound Of Music. Bringing that wealth of experience to the table, his focused performance as Lord Gray in The Haunting is an exercise in thoughtful and quiet intensity.
Playing against Daddo’s restraint, Gig Clarke’s David Filde is a bundle of tightly – wound, nervous energy. His TV credits include The Code and Mary: The Making Of A Princess. Clarke’s theatre appearances feature Mariage Blanc, The Grenade, The Ugly One, and Woyzeck.
Over two acts with a total running time of one hundred minutes, this odd couple share and balance genuine chemistry together. They fully invest themselves in their characters and the story, bringing palpable tension and drama as required to the overall experience.
On occasion in parts one and two, without giving too much more away, Tehya Nicholas makes some scene – stealing appearances as Mary.
The inventive set is built in such a way that while it appears static, as the story progresses, this is clearly not the case. Hidden panels, falling shelves and concealed trap doors come into effect, in order for certain aspects of the tale to succeed.
John Kerr’s construction, props and illusion design are enhanced and extended by the perfect choice of venue; the iconic Athenaeum Theatre apparently has a resident ghost as well. The neat drawing room architecture reminded me of two recent overseas shows, Travesties (which played this season on London’s West End), and Daddy Long Legs (that ran Off Broadway until 2016).
Kerr’s work is appropriately – supported by Jason Bovaird’s complex lighting cues and Kyle Evans’ moody sound composition. Stylish period costumes from Rhiannon Irving establish the mid – eighteenth century time – frame from the very outset.
Clear direction from Jennifer Sarah Dean keeps the story specific, meanwhile, racking up some serious scare points with some classic moments of surprise. Filmic in look and feel, fans of ghost stories such as The Innocents, The Others, and The Woman In Black will be in for a special treat.
Image Source: Herald Sun