By Jennifer Beasley.
An outstanding interpretation of William Golding’s famous 1954 novel showcases brilliant direction, incredible acting and a musical score that elevates this production into an extraordinary experience.
I came out of Theatreworks after viewing this two hour and forty-minute play spellbound. I was reeling from both the emotional intensity and astonishing directional skills from this production. Steven Mitchell Wright (Ghosts) has taken this play, which was adapted by Nigel Williams, and infuses a terrifying relevance which is only too familiar in a world threatened by a runaway masculine toxicity.
The premise of this story occurs on a tropical island where, after a dramatic plane crash, a group of teenage boys are left stranded, and quickly de-evolve into tribalism, with murderous results. Themes of power, control, toxic masculinity and hedonism are counterbalanced with friendship, rational thinking, perseverance and morality in this performance.
Directed with amazing skill, Wright handles the large cast of twelve with precision. The flow of actors grouping and breaking is itself a dance, and his tight control allows for the delivery of heightened performances. Like an electric shock that jolts you into awareness, there is no escaping his artistry. The outcome is that each performer is allowed space to deliver their utmost best, and the stark set, a sloping stage, backed by a tiered metal frame, allows for a raw and unfiltered experience.
Music by the remarkable Jack Burmiester (Tarzan) who is everywhere at the moment, supports the production with a fabulous mix of punk, electronica and choral music. Even a bit of Bing Crosby pops up. Again, the themes of anarchy and control versus the well-ordered sophistication of the civilised world are reflected here. Brilliant stuff.
Opening with all the cast playing a ball game, it foreshadows the concept of overlooking bad behaviour as ‘boys will be boys’ playing a game and links to the final declaration at the end.
It leads quickly into the dramatic plane crash, with slow motion movements mimicking the stateless experience of freefall, before the final landing on the island and the ensuing tribal fission.
The two lead actors shine. Angus Leighton as Ralph (Tender Boy-to be released), who early in the piece peels down to his underwear, foreshadowing the stripping of civilisation’s structure. Yet, he persists in order and morality, the appointed leader of the feral group, although he wavers. Balancing the physical strength to move through the demands of this role, Leighton excels as he touches on the good nature of his character’s personality, yet unable to believe the evil he is presented with, and frightened, tries to deny the present reality.
Ralph’s nemesis is the uber villain Jack, a prefect at his upper-class school and choir leader. Sean Yuen Halley (Neighbours, Love & Information) is vibrant and sinister in this role. A perfect foil to Ralph, Halley channels a combination of Lee Pace and Tom Hiddleston as he descends, adorned with tribal paint, as an opposing leader whose bywords are belittlement, control and a murderous rage to dominate. His acting is brilliant and the two performers perfectly complement each other with a power struggle that pulses to a crescendo at the end.
Energetic lighting by Ben Hughes (Salamander) is on Pointe, with a wonderful moon projected onto the stage that aids the sometimes melancholy air that pervades the boys as they grapple with the catastrophic change to their lives.
Representing the moral voice of Ralph is Piggy, a wonderful grounding performance by Oliver Cowen (Kosmos). He captures the reserved and ‘things must be done right’ voice that saves Ralph from the enigmatic force of Jack, speaking in a stunted almost autistic way, which draws the derision of the group controlled by Jack.
Ralph draws the boys to him that stand for the civilised world, Piggy, Simon, acted by Sam Gudgeon (Thou Shalt Not) whose search for ‘The Beast’ allows for a poignant monologue and bullying back story, the Twins, and the young boy, Percival.
The Twins, delightfully played by Declan Magee (Once Ethereal) as Sam and Oliver Gorringey as Eric (The taming of The Shrew) add humorous moments to any scene they are in, and a nice contrast to the strong almost aggressive masculinity portrayed by the story.
Darcy Crawford’s (Wolf Cat Fever) sensitive portray of Percival is lovely as they swing from innocent and lost, to the ultimate betrayer.
The play pulsates at every turn with vibrancy, and the strong cast make every moment matter. The tribal cohorts of Jack – Sam (Declan Magee–Peter Pan), Maurice (William Bastow–Goolagong), Bill (Alvin Prasad– War Cry) and Roger (Charlie Veitch) make you believe that these boys have become beasts. From the catlike motions of Bill, a stunning Prasad weaves and torments the other boys when they are captured, goaded by the wild Sam, a manic performance by Tindale who is a perfect henchman. Then the leering sexuality of Maurice, particularly in the second act, as he postures his painted body, miming the poses of modern day Manosphere influencers. Bastow displayed incredible awareness of his place on the stage, and his energy takes on the required sexual toxic masculinity easily. Wonderful to watch his transformation from quite schoolboy to rabid native.
Lastly there is the amazing Roger. Psychopath, underling, and the stick that keeps prodding the bear, he’s up for a fight. Always keeping the pressure on, he’s everywhere he wants to be. Charlie Veitch (Soldier Boy) very nearly steals the show, that’s how good he is in this.
With an interesting angle introduced about halfway through the play via a modern-day selfie stick with the image broadcast onto the stage, the play transforms into surrealism during these moments. Chaotic and memorable, its message is clearly directed to Influencers, and reality television where wild behaviour is rampant and the beast within goes wild. I felt that some of this could have been cut as it became a little too chaotic. However, it still does not detract from the splendid direction and the marvellous cast. The twelfth member is the adult rescuer.
With a wonderful Producer in Dianne Toulson, this performance is exceptional. From the silly vignette of dances (Nutbush and Macarena), the monstrous transformation of Jack snarling and screaming out ‘aye, aye, aye’ and the final emotional breakdown of Ralph, the play is a tribute to the cast and director. Simply stunning and in accordance with the William Golding Estate, it stays true to the original play length.
A standing ovation at the end and eleven emotional boys/men on stage. I am in awe of such talent.
Lord Of The Flies is playing at Theatreworks until 2nd October 2026.
Image: Matthew Chen
