Written by Eva Rees and directed by Kitan Petkovski, Djuna is a psychological thriller played out within the confines of a hotel room to a backdrop of an Australia in increasing chaos. With civil unrest and protest pitting the ‘haves’ against the ‘have nots’, Djuna works with two characters to delve into a detailed exploration of power dynamics and self-determination.
Djuna (played by Jay Gold) – representative of the ‘have nots’ – is a young person on the verge of transitioning, while wealthy older white male Marcus (played by Dion Mills) represents the ‘haves’. This social backdrop is a repeated motif, with news reports playing in the background as the pair continue to meet for hook-ups in the same hotel room over a number of years.
As the passage of time grows longer, the protests grow louder. We see Djuna blossom, with her growing independence a trigger point for tension, lending to conversations that grow all the more sinister.
On the other hand, Marcus is very unlikeable as a character, with no redeeming features. In the closing scenes he offers to pay for Djuna’s bottom surgery – on the condition it is performed by ‘a friend’ out of hospital, in the hotel room.
It’s a disturbing and accurate account of how trans bodies are fetishsised and too often become subjects of sexual violence and murder.
Toeing the line between tragedy, violence and humour, the dialogue feels real. There is a raw beauty and clear resonance between performer and character.
Smaller segments are woven at intervals between main scenes. Here two stage hands in hazmat suits reset each scene.
Melbourne theatre continues to see a growing number of works that incorporate sound and lighting borrowed directly from nightclubs. So too does Djuna. In these smaller scenes, music is pushed to the legal limit and the stage is awash in strobes and flashing lights.
The representation of trans characters is always somewhat perilous, but in Djuna they lean into and make a point of the character being imperfect. The creative team were clearly deliberate in their decision to do so, aware that some will not agree with this show.
But this is just one of limitless trans experiences – in its violent end, power is clawed back from the oppressor and abuser. This is the underbelly of a reality rarely present on stage. It’s a provocation to a larger conversation around representation made even more important in recent months and in light of world events.
As an indie show, Djuna punches above its weight, with attention to detail running through every element of the production. A great example is the blood slowly oozing from a grate and down the wall. Such a visual element is also underplayed, flexing the confidence that runs through this work and making it all the more brilliant.
Read: Dance review: Somos, Arts Centre Melbourne
If there’s any criticism, it’s that this show is a marathon, running at just under two hours. With the way in which audience behaviour has changed over the last decade, an interval would be a welcome addition, as this reviewer would be hesitant to suggest any cuts to the material.
Djuna by Eva Rees
Northcote Town Hall Arts Centre, Victoria
Director: Kitan Petkovski
Stage and Costume Design: Bethany J Fellows
AV and Sound Design: James Paul
Lighting Design: Tim Bonser
Stage Management: Ellen Perriment
Asst Stage Managers: Rebekah Maisano and Cherri Anderson
Intimacy Coordinator: Bayley Turner
Producer: Ro Bright for Bullet Heart Club
Script Dramaturge: Guy Webster
Development Cast: Alfie Baker and Dion Mills
Cast: Jay Gold and Dion Mills
Djuna will be performed until 23 March 2025.
