Venue: Belvoir St Theatre (Surry Hills NSW), Mar 11 – 30, 2025
Playwright: Melissa Reeves
Director: Margaret Thanos
Cast: Julian Garner, Alex Malone, Matilda Ridgway, Shan-Ree Tan
Images by Robert Catto
Theatre review
Else was not the first woman to be described as difficult, and not the first to be subject to an exorcism for that very reason. Based on a true story from 90s rural Victoria, Furious Mattress by Melissa Reeves is a dark comedy exploring parochialism, ignorance and intolerance. A scathing indictment of prevailing systems, most notably the Abrahamic religions which perpetuate all manner of social exclusionary, Reeves’ deeply subversive writing is as thrilling as it is mischievous.
The play is a wild ride, using poltergeist activity and demonic possession as basis for its renderings of theatrical magic. Direction by Margaret Thanos provides an exhilarating kineticism that represents female rage in the twisted form of absurd comedy. Although memorable for that surreal extravagance, its humour can also be wickedly deadpan in naturalist scenes. Either way, Furious Mattress makes us laugh from a condemnatory position, for a satirical chastisement on superstitions and traditions, that insist on the rejection of gender parity. Also noteworthy is the work by Harry Milas as magic consultant, giving literal and figurative elevation to the show.
Angelina Daniel’s set design is immediately evocative of country life, with the incorporation of padded surfaces further suggesting interiors of psychiatric institutions, while providing functionality for this highly dynamic presentation. Costumes by Ruby Jenkins guide us to a recent past, but it is a surprise macabre creation that truly excites. Lights by Ryan McDonald are a powerful element, especially satisfying in its delivery of optical illusions for this exploration of paranormal phenomenon. Sound design by Cameron Smith and music composition by Daniel Hertern dial up the drama, for an instance of storytelling that invites us to approach its serious themes with a delicious duality of solemnity and playfulness.
Actor Matilda Ridgway brings a wonderful defiance to Else, demanding that we see the world through her eyes. Ridgway’s cheeky presence keeps us endeared to the central character, even if it is interpreted as demonic within the text. An extremely funny Alex Malone plays Christian zealot Anna with a marvellous cynicism. Else’s husband Pierce is imbued admirable integrity along with the most subtle of incisive derision, by a captivating Julian Garner. Shan-Ree Tan as charlatan exorcist Max adds to the intensity, for a production that elicits a complex melange of emotions from its audience.
When something supernatural happens, and the church is the first authority called upon to solve its mystery, we can observe the extent to which that old institution controls our understanding of the world. When a woman seems to be losing her mind, and the only available discourse regarding her perceived brokenness relates to religion, we ignore the inherent systemic requisites of keeping women down. Some women will not adhere, and they are usually the ones who speak the truth.
Suzy Goes See 