Skip to main content

Review: The Norman Mailer Anecdote - Queensland Theatre (Door 3)

Written by Grace Wilson

The Norman Mailer Anecdote, produced by Big Scary Animal kicked off Queensland Theatre’s Door 3 program with hard-hitting questions, complex narratives, and well-rounded performances. The Door 3 program, new to Queensland Theatre in 2024, gives space for emerging artists to create and perform pitched work with support and space contributed by Queensland Theatre. For a premiere program of this size, it was a waiting game to see how high the bar would be set, and Big Scary Animal set the precedent for Door 3 works to come. 

The Norman Mailer Anecdote by Anthony Mullins explores ideas of sexual assault and the relationships that come apart in times of crisis. The work itself was confronting - it tackled these ideas through a lens of upper middle-class Australia, specifically Brisbane, and used both the lens of legal terminology and creative writing to create a wide scope when approaching the program. 

The cast itself was intimate and connected - standout performances were delivered by both Hattie Cleg-Robinson and Zoe Houghton. Cleg-Robinson nailed the teenager-angst that Mullins set out with their creation of Samantha, and Houghton followed through as a strong mother figure but also a smart and witty businessperson. Together as mother and daughter, their connection was complex and well-fleshed out, and both performers shared a genuine respect for one another on stage. Christopher Sommers delivered a strong performance but lacked the visible connection that their cast mates shared. It felt like watching an outsider who had stepped onto the stage - there was definitely room for improvement. 

Lighting design by Teegan Kranenburg was well thought out and masterful - using LED strips and poignant coloured lights to set the feel of the show. Set design by Madeleine Barlow was well executed and detailed, giving an immediate sense of upper-class Brisbane that we all know in some shape or form. Asymmetrical design, obnoxiously large artworks - the production design was what cradled this show together. However, it was the music composition and sound design by Morgan Francis that gave so much depth to the show - using beautifully composed tracks that sent us spiraling into this world and into the turmoil that these characters faced. 

The production team should be truly commended as the backbone of this production. The Norman Mailer Anecdote has set the bar high for what else emerging and independent artists in Brisbane can achieve with state company backing. Considering the complex nature of this text, all creatives on this project handled it with wisdom and insight that should be commended by all who see this production.

Comments

Popular posts from this blog

Review: Picnic at Hanging Rock - Javeenbah Theatre Company

Written by Mark Rickell “The infamous picnic has become a faux Australian history that has haunted the Australian psyche for almost fifty years.” - Hunter Wall, Director This is the backdrop on which the story takes place, not that of the period in history, but in the present. In the effect of this story and what it means to Australians. Children study the text in schools, the name, and the mystery, is synonymous with Australian literature.  “Whether Picnic at Hanging Rock is fact or fiction, my readers must decide for themselves. As the fateful picnic took place in the year nineteen hundred, and all the characters who appear in this book are long since dead, it hardly seems important.” - Joan Lindsay, Author This adaptation of the text is extremely true to the original material, and serves as an excellent example of the power of theatre as a way of bringing stories to life. This adaptation, expertly staged at Javeenbah Theatre, is a triumph of storytelling. It is clear that director

Article: Drama Dispatch Team's Achievements!

In the vibrant world of Australian theatre, few opportunities shine as brightly as La Boite’s Assembly Program. This prestigious initiative has long been a beacon for nurturing creative talent and fostering innovative storytelling. This year, we are thrilled to announce the inclusion of two exceptional individuals from our ranks: Grace Wilson, a celebrated playwright and regular Drama Dispatch Reviewer, and Jake Goodall, an acclaimed director and Drama Dispatch's Managing Director. Their acceptance into the Assembly Program promises to enrich the Australian theatre landscape with fresh perspectives and compelling narratives. Grace Wilson’s journey as a writer is nothing short of inspiring. With a background in playwriting, Wilson has carved out a niche for herself with her unique voice and evocative storytelling. Her works often explore the intricacies of human relationships, societal norms, and the complexities of identity. Wilson’s ability to weave intricate plots with deep emoti

Review: Cost of Living - Queensland Theatre Company

Written By Grace Wilson It’s not often you get to witness a work that changes a theatrical landscape. Sometimes we see new and bright ideas come to life but with relatively little to no impact on the way we have seen theatre for centuries. We are almost used to seeing the spark fizzle, to see conversations die away - but Queensland Theatre’s production of Cost of Living has turned the spark into full flame. Martyna Majok’s Cost of Living asks us what is the bottom line of love, and whether love is truly something that transcends boundaries, whether they be physical or emotional? The work itself is sharp, witty, and evocative - it uses dialogue and conversation in real time to ask these hard-hitting questions about love and our ability to love, without preaching to the choir. The story itself follows a crossroad of characters: John, a PhD student with cerebral palsy, and his new young carer, Jess, and Eddie, an older trucker who is caring for his wife Ani, who was left wheelchair-bound