The award-winning adaptation of Edgar Allan Poe’s stage production Poe Dreams of Madness runs at the Garrick Theatre from 27th September to 12th October. I hope you enjoy my theatre review, but here’s a little disclaimer before I delve into this spooky performance.
No matter what anyone claims, theatre reviews are generally subjective, as the writer’s life experiences and nuances can’t help but influence their impressions. Writing a theatre review where your daughter is one of the directors will undoubtedly be biased. How can it not be? Being closely associated with someone who works on and off stage brings unique insight into an industry where drama, determination and grit are the key ingredients. The amount of work involved in putting on a stage production is unfathomable, particularly in community theatre, where the budget is modest and the passion of its volunteers soars.
Poster design by Devon Pearce
Okay, so now that is out of the way, onto the show. Established in 1932, the Garrick Theatre, set in historic Guildford, is Perth’s longest-running community theatre, and the Poe production put on by the TAG (Teens at Garrick) celebrates the theatre group’s 10th anniversary in 2024. TAG encourages 13 to 18-year-olds to explore the theatre industry, from acting to building self-confidence and creatively challenging themselves. For Poe Dreams of Madness, Gail Lusted (founder and director of TAG) shares the role with TAG alumnus Paris Jenner (my daughter) in a collaboration of creativity and vision.
Poe Dreams of Madness is a series of vignettes based on author and poet Edgar Allan Poe’s classic tales in an adaptation scripted by Elissa Hynes. The production features classic and original material, including The Tell-Tale Heart, The Fall of the House of Usher (currently playing on Netflix), The Pit and the Pendulum, The Masque of the Red Death and The Raven. While each scene captures a standalone tale, they all weave together cohesively through a rich narrative indulging in a dynamic performance, which at times is chilling, further pronounced by it being performed in a theatre rumoured to be haunted.
It begins at midnight when Poe struggles with insomnia…or at least that’s what he thinks is happening, “I am haunted by dreams, even when I wake. And so, I wander in this dazed stupor, unsure if I am awake or asleep, unsure if I am alive.”
This sets the tone for the entire performance guided by a raven, played by Ginny Moore-Price, acting as a mischievous and macabre character throughout the gothic show.
Much of the talented cast came to the production as novices, which is impressive given their ages, many of who play multiple roles. Their sheer delight at discovering their newfound talent was a joy to witness, and I suspect many will continue to develop their skills; at least, I hope they have the opportunity to do so.
Paris Jenner
This was Paris’ directing debut, and she was also instrumental in taking the headshots for publicity, the set design and sound production. “We are in awe of the cast. They have taken everything we’ve thrown at them and run with it. We had some drop out early on, and rather than recast, we just gave them another character to portray – some play four roles. They exit one scene and immediately come back as somebody completely different. Add to that…a lot of them are first-timers,” shared Paris.
Annie Dahn
Newcomer to the theatre, Annie Dahn plays Poe, whose endearing personality weaves in and out of her evocative narration with impeccable timing. Olivia Keary is the cast’s youngest member and has only been involved with TAG since early 2024. She brought a cheeky quality to her roles, delivering her elocution so eloquently that it belied her tender age of 12.
Clayton Schelfhout made his acting debut and delivered a powerful performance in his compelling portrayal of some of Poe’s most iconic characters. Short in stature but large in presence, Juliette Botha’s experience from high school productions was evident, particularly when playing the scary role of the Mad Narrator. Piper Gibson’s experience as a member of TAG and the WA Youth Theatre’s beginner’s ensemble exuded a maturity beyond her 13 years in several roles, particularly as the sombre Friend.
Poe Dreams of Madness crew and cast
The dialogue is robust, and how the actors remember and convincingly deliver so many lines always amazes me. I loved how varied the storytelling was, woven in intrigue and humour, making it relatable to anyone, whether you’re an avid theatregoer or someone who has come along for a bit of escapism.
The front-of-house and stage design serve the storytelling well by acting as a moody backdrop, versatile enough to interchange between each scene with little disruption to the dialogue and actors. Along with the costumes and haunting soundtrack, this was a clever design choice guided by a limited budget to seek out sustainable options from props sourced from within the theatre and the production team. I had a giggle playing eye-spy at some of my own furnishings and wardrobe appearing on stage – but I won’t ruin the mystery.
Each performance differs from the next as the directing team plays with varying treatments of the scenes while leaning into the cast’s strengths on any given day.
Exploring multiple themes, including madness and the human psyche, no doubt each audience member will take away a unique interpretation of Poe’s stage production. “His stories not only reflect the literary conventions of the Romantic era but also anticipate the psychological horror genre that would later become prominent in literature. Creepy, thought-provoking, eerie, morbid. What more could anyone want?”
On that thrilling note, if you’re reading this before the season ends, please book your tickets here. And if you’re reading this theatre review after the show ends, please support the arts, community theatre, TAG and the Garrick Theatre here with their year-round season of performances and memberships.
