Review: Blackbird (KXT on Broadway)

Venue: KXT on Broadway (Ultimo NSW), Jun 25 – Jul 5, 2025
Playwright: David Harrower
Director: Pippa Thoroughgood
Cast: Charlotte De Wit, Lilly Kime, Phil McGrath
Images by Ravyna Jassani

Theatre review
Una goes to confront her perpetrator Ray, years after being sexually assaulted as a 12-year-old. There may be no moral ambiguity as to what wrong has been committed, but human emotions are complicated, and the meeting reveals unexpected layers to their illicit relationship.

Blackbird by David Harrower is a disturbing and dangerous work, taking an honest look at child sexual abuse which involves real feelings that are often overlooked. Direction by Pippa Thoroughgood emphasises the naturalism of the piece, but has a tendency to lack nuance, for the highly complex situation being interrogated. 

Performers Charlotte De Wit and Phil McGrath are convincing in their roles, both demonstrating admirable commitment to the experience. While greater intricacy and specificity could enhance their interpretation of characters and story, they nonetheless present moments of undeniable excellence on stage.

We are shocked by Una’s behaviour, yet we understand the person she has become. There needs always to be clear-cut rules around the violation of innocence, but we must also be able to acknowledge the myriad consequences that are inconvenient and troubling. The severity of harm suffered by our young is such that its effects often endure lifelong and remain deeply disquieting.  Survivors deserve support, especially when situations seem unreasonably difficult.

www.kingsxtheatre.com | www.herproductions.com.au

Review: Low Level Panic (KXT on Broadway)

Venue: KXT on Broadway (Ultimo NSW), Feb 7 – 17, 2024
Playwright: Clare McIntyre
Director:
Maike Strichow
Cast: Marigold Pazar, Charlotte De Wit, Megan Kennedy
Images by Georgia Jane Griffiths

Theatre review
Three young women share a home, each with a different relationship to their own bodies. Clare McIntyre’s Low Level Panic examines the often unstable nature of the self-image, in connection with the sociality of existing in a modern world. Characters in the play are concerned, consciously and subconsciously, with notions of gender inequality, sex and popular media, as they navigate the challenges of attaining a sense of assurance and confidence, for their physical selves.

McIntyre’s ideas are rendered with subtlety, using a gentle humour to explore these difficulties shared by most women. Direction by Maike Strichow is perhaps slightly too nebulous, in a style too naturalistic, making the show feel somewhat pedestrian and emotionally detached. Marigold Pazar, Charlotte De Wit and Megan Kennedy form a convincing cast, but are excessively lenient with the pertinent messages of the play.

A more pronounced theatricality is needed to fortify our engagement with the concepts and the enjoyment of the work. Lights by Lyndon Buckley are fortunately able to deliver some visual punctuation to sustain our attention. Set design by the aforementioned De Wit is also charming, in its winsome representation of a familiar scene.

We may be able to identify the reasons for our feelings of inadequacy, but changing those nefarious influences seems to require several lifetimes. What we can do every day, whilst finding ways to survive these unremarkable conditions, is to cultivate forms of resistance. Psychological fortification is hard work, but is absolutely necessary, for women to define our individual and private selves, so that we may be able to be at peace when it matters most, as we negotiate the relentless daily violence, of being told we are not enough.

www.kingsxtheatre.com | www.herproductions.com.au