By David Gardette
A rich, memorable, wonderfully acted revival that does justice to Lawler’s iconic vision.
Holding a defining place in Australian theatre history, Ray Lawler’s Doll Trilogy is a gripping portrait of working‑class life. Red Stitch Actors’ Theatre has taken on this mammoth three‑play undertaking with great ambition, offering Melbourne audiences a moving journey through these iconic characters’ lives.
The Trilogy – Kid Stakes, Other Times, and Summer of the Seventeenth Doll — was groundbreaking when first written in capturing Australian voices with authenticity while exploring shifting social values. Embraced for its humour, heart, emotion and quintessential larrikin charm, Red Stitch’s production stays true to this history, highlighting a sharp commentary on class, gender and an evolving post‑war Australia.
Set in Depression‑era Carlton, Kid Stakes, introduces a lively young Olive (Ngaire Dawn Fair), her free‑spirited best friend Nancy (Emily Goddard), and stern boarding‑house matriarch Emma (Caroline Lee). When Queensland cane cutters Roo (Ben Pendergast) and Barney (John Leary) arrive for their Melbourne layoff season, a plan is made to bring them in as boarders — much to Emma’s disapproval. Needless to say, romance sparks and tensions simmer.
In play two, Other Times, the boys have returned from war to a changed Australian society and discover their once‑carefree world altered. Olive and Nancy step into greater independence, while Bubba (Lucinda Smith), once the young child next door, is now a young woman navigating her own new adulthood. Through shifting relationships and the arrival of Josef, a German‑Jewish migrant (Khisraw Jones-Shukoor), there is an uneasy transition from youthful dreams to an uncertain post‑war Australia.
In the trilogy’s iconic third play, the tradition of 16 summers reaches breaking point. Nancy has moved on to a more settled life and Olive introduces Pearl (Emily Goddard) as Barney’s potential new companion. Olive’s romantic ideals begin to fracture, Roo grapples with age and fading vigour, and the ritual of the “doll” gifts becomes a reminder of time passing.
Despite a few opening‑season line stumbles, the cast delivers outstanding work across the long performance day. Ngaire Dawn Fair shines as Olive, charting her journey from young romantic to desperately clinging woman with great depth. Emily Goddard is a knockout in her dual roles; the vivacious, daring Nancy and the grounded, more conventional Pearl. Ben Pendergast (Roo) and John Leary (Barney) embody the quintessential Aussie mateship of the era; their friendship, banter, and camaraderie is captivating. As matriarch Emma, Caroline Lee brings the exact degree of stern, formidable presence while Lucinda Smith, portraying both young and older Bubba, avoids every cliché and delivers an impressive believable performance. Khisraw Jones‑Shukoor navigates three distinct roles — Olive’s suitor Dickie, migrant Josef, and cane cutter Johnnie — each sharply differentiated and compelling.
Under the direction of Ella Caldwell, Red Stitch’s Artistic Director/CEO, the trilogy is a tightly paced and incredibly well-balanced production that does not lag a moment – an impressive feat given the 7+ hour duration. At times, the vocal energy outsized the intimacy of the space, but it’s a minor quibble in an otherwise very impressive directorial feat.
The Doll Trilogy is a strong, deeply heartfelt presentation of one of Australia’s most important theatrical works. Red Stitch proves once again why they are one of Melbourne’s premier companies, offering an experience that honours the plays legacy while reminding us of its continued relevance.
Images: Chris Parker
