Henry Lawson Theatre: The Women of Twilight - Review by Jessica Green

Sylvia Rayman’s Women of Twilight is known for putting a spotlight on women's issues. Henry Lawson Theatre’s production of this play was no different, highlighting the plight of unwed mothers in 1950s London and their being taken advantage of by both men and women alike. Whilst being described as a melodrama, the Women of Twilight tells the realistic story of women who have fallen pregnant in various ways and have no other choice but to rent a bed; some beds being a couch in the lounge room sleeping multiple other women, on the top floor of retired nurse and widower Mrs. Hellen Allistar's London townhouse. For 3 quid a week, Allister promises these destitute women that they will be able to work and have their babies cared for. But like many stories of this ilk, it is just too good to be true, with many of the mothers being convinced to give their child up and “farmed” by Allistar to couples unable to conceive naturally or run the risk of becoming malnourished or falling ill in her care.

Seasoned director Anthony Brown, who directed this show two years earlier for Ruby Productions, and assistant director Amiee Baker-Smith have done a commendable job of bringing this story of both struggle and hope to life and respectfully tackling the subject material.

Whilst this is truly an ensemble piece, the story focuses primarily on two women navigating life under the conniving Allistar’s roof. Christine, portrayed by Krystie Grubba, is a woman who has just given birth and needs a place to stay while she waits for her husband to come home from the US for work. Grubba brought her years of film and stage acting experience to the piece and should be praised for her ability to balance both strength and naivety in a role that could be handwaved as an unwitting and gullible ingenue. Grubba also featured as the cast's dialect coach. Counterpart to Christine is her roommate; more aptly, lounge room mate, Vivianne, portrayed by Jessica Hanlon, is an expectant mother whose name is being dragged through the mud by the papers, as her abusive partner is being tried for murder. Hanlon, whose character goes on the greatest journey in the piece, brings a sense of control and poignancy to a role that could swallow other performers, and should be commended.

The aforementioned, and exceedingly vile, Mrs. Hellen Allister was brought to life by Susie Miller, whose portrayal of the wicked landlady was so convincing that at the curtain call, members of the audience booed her. Whilst this would be confronting to newcomers to theatre, this is often a desired response when playing a villain, making your character so unlikeable that they wish you were dead, and by the mid-way point in act 3, the show’s climax, oh boy, you wish she were. Every villain has a good henchman, or woman. In this show, Haley Ramsey had this privilege, portraying the role of Jessie, a mother of multiple children of illegitimate parentage who also works for Allistar, supposedly looking after all the children whilst their mothers are either absentee or at work. Ramsey did a great job, bringing equal amounts of gruffness and humour to the role and supported her fellow castmates onstage at all times.

Other roles included Rosie (Ava Atallah), a young bride-to-be with a penchant for thievery, Sal (Helen Crowe), a woman working for and manipulated by Allistar on account of her disability, Laura (Nicole Smith) an independent mother with a positive go getter attitude who eventually finds her way out of the hovel and Molly (Rhonda Hancock) an Irish cafe worker who is barley home as she is taking on as many shifts as she can to support her child, all of which made the most of their moments onstage.

I would like to take the time to make note of my standouts in this production. Willow Szczygiel, who played the role of upperclass sexual assault victim Veronica. Kayla Austin, who took on the role of Olga, a loud-mouthed but loyal sex worker, and Louise Gal, who features very briefly as the Nurse, bringing humanity and decency back into the hellhole of the Allistar house. These actors, in particular Gal, brought truth to the age-old saying, “There are no small roles, only small actors.” Their performances, despite their limited stage time, were far from small, bringing gravitas, comedy and warmth to the piece whilst also demonstrating the complexities of their various, distinctly female, experiences to life.

Blake Reeves, who also moonlighted as both the properties and stage manager, Set Design could only be described as disgusting and cluttered, which in this show, fits the bill perfectly. Liesel Hussey's Costumes and Ashleigh Kohler's Hair and Makeup were distinctively post-war London, supported by both Sound and Lighting Design by the director, Brown. 

No opening night is without mistakes; there's always something that nobody can predict or control. But it's live theatre, and that’s part of the appeal. Whilst there were a couple of lightning errors, line flubs and lengthy scene transitions that were just not to my taste, I do have to commend each actor onstage when a set piece fell. I was so impressed at how the performers rallied together to ensure everyone's safety and that the show went on. Great recovery all and well done!

Overall, if you are looking for a night out at the theatre that leaves you wanting to blare Helen Reddy’s “I Am Woman” whilst taking you on a journey full of hope and heartbreak, look no further and support Henry Lawson Theatre’s production of Women of Twilight as it is “In the Community - For the Community.”