Inside the Island Review — Marloo Theatre

INSIDE THE ISLAND

Darlington Theatre Players — Marloo Theatre

🎭🎭🎭🎭🎭 — 5 GOLDEN THEATRE MASKS

Tucked away amongst the trees and bushland of the Perth Hills sits Marloo Theatre, home to the Darlington Theatre Players and, for one evening, our office.

There was something immediately familiar about this beautiful little theatre. Its intimate setting reminded me of the small-town theatre where I first found my own love of performing, many years ago, back home in Aotearoa New Zealand.

And as it turns out, it was the perfect setting for what we were about to experience.

Inside the Island, written by acclaimed Australian playwright Louis Nowra, is described as an Australian Gothic horror — and believe me, it delivers exactly that.

This was our first opportunity to venture into the world of Perth’s community theatre companies, and if this production is anything to go by, I have a feeling the Darlington Theatre Players may be seeing a lot more of us.

FIRST LOOK — SET & ATMOSPHERE

The production doesn’t need an elaborate set to establish its world.

An upright piano, a handful of sitting-room chairs and dimly glowing lanterns are almost all that occupy the stage.

And yet, from the moment you enter the theatre, the atmosphere is unmistakable.

Dark.

Ominous.

Unsettling.

The simplicity of the design works in the production’s favour, allowing the audience to focus on the characters and the increasingly disturbing world unfolding around them. In a theatre as intimate as Marloo, there is nowhere for the tension to hide — and that’s exactly what makes it work.

ACTING & STANDOUTS

The ensemble is a genuinely impressive group of performers, with a wonderful range of ages, experience and performance styles.

And yes, even a moon boot couldn’t stop them!

But one performer who immediately commanded our attention was Jenny Howard as Lillian Dawson.

Howard has that wonderfully elusive quality that every performer wants: stage charisma.

She has a natural charm and confidence that draws the eye whenever she’s onstage, and she consistently found the moments that allowed Lillian to shine. It’s clear this is someone who is very comfortable in front of an audience — and it shows.

The cast as a whole work particularly well together, creating a believable ensemble rather than a collection of individual performances. There is a sense that everyone understands the world of the play and, importantly, understands the stakes within it.

And then comes Act Two.

ACT TWO — NO SPOILERS

Without giving anything away, the play takes a very dark turn.

And this is where the production really gets its teeth.

The physical choreography and stage combat are fantastic, with the performers committing fully to some genuinely confronting moments.

But perhaps the biggest transformation comes from Luke Miller as George Dawson.

Miller takes George on a remarkable journey — from weak, vulnerable and seemingly powerless to something altogether different.

By the second act, we see a character who has found a strength and stoicism that simply wasn’t there before.

And Miller sells that transformation beautifully.

There is a particular sense of “walk into the fire” bravery to his performance that makes George’s journey one of the production’s most compelling elements.

And honestly?

Nothing will prepare you for where this play goes.

SOUND & LIGHTING

For an opening night, we’re usually prepared to forgive the occasional technical hiccup.

There was very little need for forgiveness here.

In keeping with the intimacy of Marloo Theatre, the production chose to go old school and perform without microphones — and I’m so glad they did.

Every performer projected beautifully, with dialogue remaining clear and audible throughout.

That’s no small achievement.

The lighting design was equally effective. Rather than attempting to make the small stage appear something it wasn’t, the lighting worked with the space and there were moments when carefully isolated areas of light made the stage feel considerably larger than it actually is.

It also played an important role in establishing the show’s Gothic atmosphere, helping shift the emotional temperature as the story progressed.

COSTUMING

The costumes are another example of how the production understands that sometimes the most effective design is the kind that doesn’t call attention to itself.

The period costuming feels authentic, lived-in and appropriately suited to each character.

Nothing felt like a costume simply placed on an actor.

Instead, the wardrobe helped us believe these people existed within this world.

And that’s exactly what good costume design should do.

THE VERDICT

It’s been years since I’ve sat down to watch a community theatre production.

And I’ll be honest — community theatre sometimes gets an unfair reputation.

There’s occasionally an assumption that it sits somewhere below the professional and pro-am productions that Perth has to offer.

Inside the Island completely challenged that assumption.

In fact, I would go further.

This production doesn’t simply hold its own against some of the professional theatre I’ve seen in this city.

It stands toe-to-toe with it.

“This production doesn’t simply hold its own against some of the professional theatre I’ve seen in this city. It stands toe-to-toe with it.”

And in some areas, I’d argue it stands head and shoulders above it.

That’s what makes this production so exciting.

Because community theatre isn’t simply about putting on a show.

It’s about giving performers, creatives, technicians, designers and storytellers a space to practice their craft, take risks and create something for their community.

And when all those elements come together like they have here, the result can be genuinely exceptional.

For our first look at the Perth community theatre scene, Inside the Island has set the bar extremely high.

5 GOLDEN THEATRE MASKS

I know I can sound a little cliché when I say this because, truthfully, I genuinely love going to the theatre.

I’m passionate about the craft.

I’m passionate about the people who dedicate their time, energy and talent to standing on a stage and telling a story.

But this isn’t simply me saying “support local theatre” because it’s the nice thing to say.

I’m saying it because this show is bloody good.

So, guys…

YOU NEED TO GO SEE THIS SHOW.

DO NOT WALK.

RUN.

Clay | His