Review by Michelle Sutton
The Children’s Hour at The Old Fitz Theatre is presented by Tiny Dog Productions and Dead Fly Productions. Written by Lillian Hellman in 1934, the play was banned from being performed in several major cities due to its exploration of homophobia and queerness but has left a lasting legacy on popular culture. The play is based on a true story, when in 1810 a schoolgirl accused two of her teachers of having an affair with devastating consequences. This production directed by Kim Hardwick is spellbinding in its authentic portrayal of the dark and troubling story.
The central figures are played by Jess Bell and Romney Hamilton. Both actors attack their role with sincerity, with Bell as Martha delivering a particularly harrowing performance, with palpable anxiety and dread throughout. Deborah Jones presents a theatrical masterclass as Aunt Lily, who misses her niece’s trial due to “a moral obligation to the theatre”. Jones is diabolically self-obsessed, terrifyingly delusional and utterly transfixing to watch. Every moment Jones is on the stage is a standout and she plays off of the other actors perfectly. Similarly, Annie Byron owns the stage as the imposing figure of Mrs Tilford who wields her wealth and power over people’s lives. Mike Booth rises to the bar set by the other actors and cultivates a character that is layered, endearing and commanding. Kim Clifton delivers an electrifying performance as Mary. She is unsettling and terrifying in her viciousness and calculated manipulation. Clifton brings the intensity required for this role and hits every single moment. She creates an utterly unpredictable and menacing force that is impossible to look away from. The artists playing the girls at boarding school all show excellent characterisation and create extremely realistic teenage peer dynamics. They are frantic, impulsive, insecure and playful. Sarah Ballantyne is highly strung As Rosaleigh, Lara Kocsis is earnest as Peggy and Amy Bloink is quirky as Evelyn.
Set designer Emelia Simcox and scenic artist Russell Carey have created the sense of different rooms and walls in a cottage where people can eavesdrop, and secrets can be overheard. The small stage is mostly bare except for a few chairs and tables, keeping the focus appropriately on the drama between characters and the sharp dialogue. The costumes designed Hannah Yardley evoke the 1930s time period and social status of the different characters. Kim Hardwick is to be commended for drawing the very best out of the original material and talented ensemble and for staging the play with such reverent respect for Hellman’s script. Hardwick has resisted the urge to make the play flashy or melodramatic, showing restraint and taste in allowing the plot to unfold at the perfect pace for the audience.
The script written by Hellman in the 1930s remains provocative and relevant to society today almost 100 years later where shame and stigma still run rampant and the flames of homophobia are currently being fanned by politicians both within Australia and overseas. The original script written by Hellman is exquisitely well-structured and paced with fleshed out characters and a profoundly devastating and memorable emotional impact. It would certainly be hard to go astray with such material, but in the talented hands of the cast and with Hardwick as director, The Children’s Hour truly shines. You cannot help but think you are watching one of the strongest plays with one of the strongest ensembles in Australia.
The Children’s Hour at The Old Fitz Theatre is as high a quality a production as you are likely to see anywhere in Sydney and I recommend you buy your tickets as soon as you can.
