There’s something wistful about this independent new Australian play. Into the Mirror makes a brave attempt at breathing life into some really thought-provoking subject matter: mature-age gender reassignment surgery and the surrounding issues of personal and familial identity, though ultimately it feels more of a work-in-progress than a finished theatre production.
Playwright Shirley Wall displays a promising talent for choosing to foray where very few playwrights would dare to tread. At times, her words are both sweet and searingly insightful, and whatever else is absent here, there is a refreshing lack of weak female characters. Unfortunately, Into the Mirror suffers from poor direction and a plethora of clunky staging choices, but this reviewer was nonetheless pleased to see such complex issues under lights.
Staged at Newtown’s King Street Theatre, Into the Mirror‘s two hour running time is accentuated by a curious attempt to echo traditional attributes of ‘putting on a play’, including numerous scene-ending blackouts and hefty, dimly lit (sometimes downright unnecessary) scene changes which feature the movement of a table here, a handkerchief there, and which are performed by stagehands so prominent as to almost form part of the play.
From the get-go, Into the Mirror commences startling abruptly. With little or no pussy-footing, the viewer is plunged into the world of dual protagonists Kendall, formerly Sally (Penny Day) and Melanie (Amber Robinson) – an estranged mother and daughter with an ocean of complex issues between them and any possible chance at reconciliation.
From the first few tense minutes, there’s a lot going on; almost too much, with some performances notably stronger than others. Carole Sharkey-Waters is confusingly fabulous as Sophia, Melanie’s lifelong friend and former day-nurse-with-a-secret-past. Among a reasonably large cast of five, hers is the most interesting performance. The play’s action makes good use of Sharkey-Waters’ natural playful flair and fabulous legs (but might have done well to stop short at allowing her to sing).
As the action barrels along, other characters are given a mere moment to shine. Toward the play’s conclusion, Tyler (Helen Stuart) reveals her surprising, traumatic secret and the overwritten dialogue is so melodramatic, the plot twist so unexpected, that even a seasoned performer might have experienced difficulty summoning viewer sympathy.
Notably, King Street Theatre is too intimate a venue for transman Kendall’s elaborate, boyish wig, adding a layer of awkward pretence to this meaty character. His three-piece suit costume choice is similarly alienating.
Nonetheless, it would have been nice to have witnessed a few more bums on seats in Newtown on this particular Thursday night. As outlined in the program notes, playwright Shelly Wall is indeed an ‘honest and daring theatre maker’.
Rating: 1 ½ stars out of 5
Into the Mirror
Written and Directed by Shelley Wall
Make Up Artist: Marisa Birbara
Choreographer: Julie O’Reilly
Lighting/Sound Technician: Pat Carter
Composers and Songwriters: Rachel Wall and Craig Dimond (Room 28)
Cast: Penny Day, Helen Stuart, Amber Robinson, Carole Sharkey-Waters, Katie Lees
King St Theatre, Newtown
22 November – 16 December
