Bessie Mundy (Lisa-Jane Easter), Margaret Elizabeth Lofty (Kylie Vanston) and Alice Burnham (Anna Phillips) grace the stage in the Waipukurau Little Theatre’s production of The Drowning Girls.
Bessie Mundy (Lisa-Jane Easter), Margaret Elizabeth Lofty (Kylie Vanston) and Alice Burnham (Anna Phillips) grace the stage in the Waipukurau Little Theatre’s production of The Drowning Girls.
Seeing The Drowning Girls on stage at the Waipukurau Little Theatre is a truly immersive experience. And I won’t ask you to excuse the pun.
It begins with an eerie slide show backgrounding the play - the true story of three of the wives of George Joseph Smith: Opportunist, charmer, conman, bigamist ...
And serial killer.
Between 1908 and 1914 Smith married eight wives, parting each from their worldly goods before moving on to the next victim.
In the play, written by Beth Graham, Charlie Tomlinson and Daniela Vlaskalic, we hear from three of Smith’s wives ... whom he was eventually convicted of drowning in their bathtubs. The play includes transcripts of Smith’s trial at The Old Bailey.
It was a famous trial of the time - dubbed the “brides in the bath” murders and investigated by the father of modern forensic science, Bernard Spillsbury.
But if you think this play will be a bit dry (again, pun intended), you’re very mistaken.
From the dulcet voiceover of the slide show to the poignant closing scene, I was transfixed by the choreographed ebb and flow of this clever, enticing and downright beautiful play.
It seems odd to call a tale of three murders beautiful.
The Drowning Girls is Waipukurau Little Theatre's latest production.
To start, the theatre is extra warm and cosy ... you’ll find out why as the brides are revealed. The set is simple and striking. Black and white, with three large and authentic clawfoot bathtubs centre stage.
It’s unusual.
You might just have time to think ... ’gosh they must have been heavy to shift’ ... before you get drawn into the story. You’re immersed. No ad breaks, no pause button, no wandering off to make a cuppa or pour that second glass of wine, no sounds from the street, the kids or the neighbours.
There are two stagehands in full view for most of the play. A few minutes in and you stop noticing them. The three actors ask for your attention - being Victorian ladies they are far too polite to demand - and you give it to them.
The tale unfolds. Three dead women accounting for how and why they married a conman: Lisa-Jane Easter’s Bessie, so needy and desperate; Kylie Vanston’s Margaret, staid and spinsterish; Anna Phillips’ naive and lovestruck Alice.
These three experienced and talented actors offer a performance that - when I could momentarily drag myself back to reality - had me in awe of the challenge they had taken on - and blown out of the water. (Still no apologies).
Under the inspired direction of Madeleine Howard, they inhabit the bodies and souls of these lost, drowned brides and they hold the stage for the entire hour and a half. No interval, no scene changes, and at times thoroughly wet through.
Drowning Girls, Waipukurau Little Theatre
They are constantly moving, this play is more choreographed than stage-directed. The dialogue is tight, lyrical, lilting and often synchronised. Their timing is spot-on on, stunning. They switch characters as they play the parts that make up their own stories ... lawyers, doctors, distraught mothers, maids ... all believable and all in the cadence of Victorian spoken English.
The lighting plays a part all of its own. It needs to take its own bow. Designed by Charlie Mavin and wielded by Juliette Griffin, the eloquent use of hard and soft tones, impeccably planned spots, it’s centre stage and invisible at the same time.
