The Land of Make Believe at Silo Theatre

Aidee Walker gets the most from her script.

Apparently there is a 20-year cycle for a decade to come back in fashion, which means that now it's the turn of the 80s and fashion is flirting with puff-ball skirts and pastel colours, and music is mashing up Duran Duran and the Smiths.

So the Silo Theatre is right on the money with this new play, a coming-of-age story set in 80s New Zealand and focused on Carol-Ann and her desire to escape Lower Hutt.

Written by Vanessa Rhodes, it is an authentic recreation of those awkward late teenage years and early 20s when you are trying to work out who you are.

Rhodes is good at capturing iconic New Zealand characters - the stoner philosopher in the back garden, the young mum still wanting to be a party girl and the pretentious type who is striving to be international by making regular trips overseas.

She writes like someone who has experienced the boredom of being young and wanting to be anywhere else but the place where you grew up. And she obviously remembers the real angst we felt when we all believed that a nuclear armageddon was going to end the world.

The Land of Make Believe has some vivid characters and some memorable moments.

Rhodes is a talented writer and at times the script sings. But it is let down by the second act, which is a little like a young band's difficult second album. After charming us with a great opening act, the second act sees characters we've grown to like and identify with just disappear.

Although Carol-Ann goes on a journey of discovery to London to find her father, she seems oddly untouched by her experiences and that makes it difficult to identify with her as the hero.

That lack of empathy for the main character is no reflection on Aidee Walker's performance. She draws out all she can from the script and has a fine singing voice to boot.

Walker is matched by fine performances from the rest of the cast, many of whom have multiple roles.

Despite looking too young to be the parent of a teenager, Hera Dunleavy is believably worn-out as Carol-Ann's world-weary Mum, Janice, and easily captures the pathos of a woman short-changed by life.

Lauren Jackson is probably a little old to be playing a teenager but she gives a star turn as toxic friend Victoria in a role that manages to be both funny and appalling.

Sean Lynch plays a variety of characters. His stoner, Murray, is the the most memorable, partly because he seems to be the only male character who wants to help rather than hurt Carol-Ann.

The two final cast members get to show great range in their performances. Kip Chapman swings from a randy and straight New Zealander teenager to a camp, queer wannabe London stylist, and Edwin Wright morphs from a loser Kiwi layabout to an English lord.

With a play featuring 11 characters and multiple locations over two countries, director Julie Nolan wisely pares everything back to the actors' performances.

The set is created with simple effects from Thomas Clarkson's lighting, a soundscape from Marc Chesterman, and props and costumes by Kirsty Johnson.

Although the focus is on the script, Nolan has introduced effective elements of physical comedy that not only lighten the piece but at times help to flesh-out the characters' personalities.

The Land of Make Believe has some magic moments and, overall, works as a slice-of-life story. But Rhodes packs in a lot of action at the expense of the plot and a bit more focus could make it truly transporting.

What: The Land Of Make Believe
Where: Silo Theatre
When: Until November 12