Reviewed by Kate O'Sullivan
The world premiere of Night Night by The Last Great Hunt, presented as part of Perth Festival, is an innovative theatrical experience that seamlessly blends dramatic acting with puppetry, animation, and cleverly embedded technology. The result is a visually and emotionally engaging piece of theatre that captivates its audience from start to finish.
Upon entering the Studio Underground space, audience members are given plastic medallions to wear around their necks—a small detail that hints at the interactive nature of the performance. The pre-show sees co-creators and performers Arielle Gray and Tim Watts warming up on stage, preparing both themselves and the set in full view of the audience. Right from the outset, technology plays a crucial role, with Watts using a tablet to display messages on a screen, including everything from a friendly “hi” to important content warnings about loud noises, flashing lights, and "whimsy".
The stage itself is deliberately open in its design, with all elements of the production laid bare. Two-thirds of the space is occupied by a large projector screen, while the remaining third features a live video setup where a camera captures and projects images onto a smaller screen. Props and furniture are scattered around, making it clear that the audience is about to witness a live film being created before their eyes.
The story follows Pip, a scientist in the Antarctic searching for the origins of life. Arielle Gray portrays Pip, while Tim Watts takes on multiple roles, including supporting characters, puppet manipulation, and live camera operation. Through the interplay of projector screens, cameras, and puppetry, the duo constructs a cinematic experience in real time, reminiscent of the vibrant energy and whimsical aesthetic of The Life Aquatic.
One of the most enchanting elements of Night Night is Watts’ masterful puppetry of 'Sticky'—a stick figure composed of strands of light, with its limbs and head connected to the tips of his fingers. This luminous character moves fluidly across the screen, even interacting with the audience at times, and despite having no dialogue, the bond between Pip and Sticky becomes the emotional core of the show. Gray and Watts bring this relationship to life with remarkable depth, making the audience fully invest in their journey.
As the story progresses, the emotional stakes heighten when Pip receives a diagnosis and is separated from Sticky. The climax is beautifully executed, with all artistic elements converging—Rachel Claudio’s evocative score, the seamless visual effects, and the dynamic storytelling—to deliver a powerful and satisfying resolution. The use of the audience’s medallions in the finale provides a gentle yet impactful interactive moment, ensuring that even the most introverted theatre-goers can engage without discomfort.
At just under an hour, Night Night may not be narratively complex, but its craftsmanship is extraordinary. The show thrives on its meticulous, inventive execution, proving that even when all the technical elements are laid bare, the magic of theatre remains intact. Watching the mechanics unfold doesn’t lessen the impact—it enhances it.
While Night Night sold out its Perth Festival season, audiences across the country will have the chance to experience this remarkable production when it tours later this year. It is a must-see for anyone who appreciates theatre that pushes creative boundaries while delivering an emotionally resonant story.
Reviewer Note: Tickets for this review were provided by Perth Festival.
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