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Henry Lawson Theatre Inc: Where Words Once Were - Review by Daniel Conway

There is a phenomenon that happens in our brains when we acquire new language, it can change the way we understand the world. Take colours for example, did you know that the more colours that you have names for you are actually able to perceive more colours with your eye? This means that when discussing specific shades of colour and someone says that they all look the same, perhaps it is because they don’t truly perceive a difference between eggshell and cream, it is all different ways of saying white. Language is important as it gives us purpose, agency and memory, this is the thesis of Where Words Once Were performed by Henry Lawson Theatre.

 




Director Ian Flecther and his assistant Nicole Smith have done a great job of taking on this ambitious script. I am impressed with the work of Fletcher and his team in creating a fantastical world that captures the dystopian setting, while still maintaining an intimacy that is part of the charm of the Henry Lawson stage. The set that Fletcher designed was beautifully constructed and created separate but fluid spaces on stage. The use of projections, operated and designed by Cirewen Newell, struck the right balance of adding to the scene without ever becoming too gimmicky. The costumes are impressive, and the work of Heather McGreal and Barbera Vasileseu is so detail-oriented and clean. Fletcher uses his team well to create a world with a tone and energy to communicate his dystopian world to us so clearly.

 




The play is focused on Orhan, played by Cenk Orhan, a young man who is drawn to a mysterious girl played by Leisel Hussey. Orhan has a gentle energy perfect for the focus of a dystopian hero. He is warm and has a great rapport with everyone on stage. Hussey has the challenge of delivering most of her dialogue without being seen, but when she is she has to emote and tell a story with her physicality. These two young performers anchor the production and their shared scenes were some of my favourites. Orhan is flanked on his journey by Keiren and Eila played by Cooper Abood and Brianna Grima respectively. Abood plays the fool expertly. He has a charming naughtiness that contrasts well with Grima’s playful disapproval. They have a charming friendship on stage that is clearly full of love.





Michelle Hussey as Orhan’s mother Alli does a wonderful job as the concerned parent. Hussey makes strong acting choices in her expressions and reactions which help make her feel fully realised and in the moment. Christopher Pali plays Issac the official in this dystopian society with all of the gravity it requires. Pali is commanding, without ever being overbearing. You get the sense that Orhan’s budding rebellion is not safe around him, however, his tender energy at the conclusion of the piece is very well acted by Pali and is a testament to his stagecraft. Jeff Brocktoff rounds out the adult members of the ensemble as the teacher. Brocktoff’s role allows for some great comedic beats which are matched by some fantastic expressions.

 

Were Words Once Were is a rich story that raises questions about the power of language and while I have my criticisms of the script itself, I think perhaps the concepts would be better explored as a short story, the work on stage is undeniable and a testament to Fletcher, the cast and the crew.

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