Reviewed by Kate O'Sullivan
Seeing a familiar story in a new light is always an intriguing experience, and "The Girl on the Train" at Murray Music and Drama proves no exception. Based on Paula Hawkins' bestselling novel and its 2016 film adaptation by DreamWorks, this stage version grapples with the challenge of translating a location-driven story onto the confines of a single stage.
Under Jacinda Gordon's direction, the production tackles this commendably. The inventive use of projections to simulate the train scenes stands out as a highlight. This modern technology effectively bridges the gap between the book's sprawling narrative and the physical limitations of the stage. The projections, coupled with a simple yet versatile set design, seamlessly transform the expansive Pinjarra Civic Centre stage into various environments, enhancing the storytelling without overwhelming the audience.
The cast delivers a generally solid performance. Intimacy on stage is notoriously challenging, and the actors make a good effort to connect with their roles and with the other performers. Lori Anders, in particular, shines when walking through Megan’s story (no spoilers here) during a pivotal scene in the psychologist’s office, delivering an emotionally charged performance that resonates deeply. It's always difficult to portray drunkenness on the stage, and Abby Kotara, in the leading role of Rachel, carefully toes the line to good effect, allowing some of the comedic moments in an otherwise quite heavy show to come to the fore.
It is unfortunate, however, that some performances fall short of capturing the depth of their characters. At times, the delivery felt scripted and stilted, with some actors seeming to rush through their lines rather than embodying the emotions and thoughts in their roles, although this may come down to opening night nerves. The discrepancy in age between the actors and their characters, particularly for characters who are supposed to have experienced significant life events, also slightly undermined the believability of some relationships.
The technical aspects of the production are strong. The lighting designer and operator deserve commendation for their work, as it complements the set design and enhances the overall atmosphere. The projections add a dynamic visual element that works well with the lighting to delineate different settings and moods. The sets themselves were nicely detailed, giving a sense of the types of people in each home without needing too many large set pieces. This also meant that the scene changes were swift, an important element in a show with so many locations. It would have been nice to extend the scene change music a little longer for some of the changes, but, for the most part, it covered nicely. However, the decision to use body microphones for every actor was somewhat counterproductive. While they were useful for amplification in a large venue, they occasionally created issues with sound distortion during louder moments. Alternative microphone options, such as drop or floor mics, might provide a more balanced auditory experience in future so that the audience can enjoy the vocal variance and emotions without the distortion getting in the way.
Additionally, it would be prudent for the production team to offer a content warning to patrons, as some of the play’s themes could be distressing to some audience members, especially if they are unfamiliar with the plot.
Overall, Murray Music and Drama’s rendition of "The Girl on the Train" stands out as one of the most emotionally driven pieces seen at their venue in recent memory. The production delivers an engaging and visually striking adaptation of a well-known story, and despite some hiccups, the emotional impact is a testament to the creativity and dedication of the cast and crew. For those familiar with the novel and film, the stage version provides a fresh perspective that is worth experiencing.
Reviewer note: Tickets for this review were provided by the theatre company. Kate has previously worked with the stage manager of this production.
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