The Breakfast Club

When the “Laycock Street Community Theatre” first opened its doors in 1988, it was a shot in the arm for the local performing arts community. Several local independent theatre companies were formed, and staged highly creditable productions throughout the next decade. Then, with sharply rising theatre fees and continual changes in management, just as suddenly the commissioning of local productions diminished and production companies folded (or went into eternal hiatus) along with it. Many other companies have come and gone since then, experimenting with different venues and formats, but virtually all struggled to maintain ongoing audience support. In recent years, even the most stoic of theatre patrons had grown cynical and nothing particularly adventurous has been happening for quite some time.

Ironically and somewhat farcically the building of the LST facility, houses a versatile and ideal 'fringe theatre/cabaret' space in the form of the facility's conference room. Over the past decade, the Don Craig Room has been used primarily for private functions and 'one off' theatrical presentations. Then in 2014, new management let it be known that they wanted to push this space – and brand new companies were formed virtually overnight, among them Endless Night Theatre Company Inc.

Choosing The Breakfast Club as their first official full-scale production was a brave move indeed – considering the cult status of the film. Those too young to know this love-letter to teen angst, would have been more than a little confused by the title, and those old enough to worship it – could feel too loyal to the film to tolerate the thought of a stage adaptation. Falling (from a great height) into the latter camp, I had mixed feelings. Would I be able to stop myself from inwardly reciting the dialogue long enough to fully engage with the actors? Would a contemporary batch of young performers be able to latch on to the (occasionally melodramatic) dialogue in a convincing enough fashion to put their own stamp on such indelibly cinematic characters (whose every vulnerable, emotional nuance had been so unforgettably captured in close-up) without pushing their performances over the top?

Apparently so.

This impressive ensemble do well to emulate their predecessors and add their own spin as well. With a cast comprising both experienced performers and newbies – it's a fine accomplishment indeed by director Jillian Logan that it wasn't immediately apparent who was who. Jai Cotterill makes a good debut in the least obviously showy role of Brian (The Brain) by putting in a nicely underplayed, charismatic performance. Lillian Kidd's focused and affectionate portrayal of Claire (The Princess) belies her tender years, just like Molly Ringwald herself. Logan must have broken her face smiling when Katelyn Doyle turned up to audition for the part of Allison (The Basket Case); with the role being almost totally visual, Doyle embodies the kooky part to a T. Scott Russell makes the most of his emotional moments as Andy (The Jock) while the 'grown ups' – Christopher Martin as the somewhat sadistic Mr Vernon and Matthew Lawrence as Carl the Janitor provide the right measure of support with concise characterisations. Last mention, of course has to go to that most iconic of all characters – John Bender (The Criminal). What a daunting task for any young actor to fill those shoes? Particularly when you consider that Judd Nelson was a genuinely unhinged 26 year old when he brought Bender to belligerent life. At 19, Morgan Lazaro brings all the swag – and with fine comedic timing to boot. Very simple lighting and stage design serve their purpose well by not pulling focus. With only four performances – this was both the Theatre and the fledgling theatre company's toe-dip into the water. Putting bums on seats at Laycock for shows that aren't produced by GMS can be frustratingly elusive. The standard of this production augurs for exciting times ahead for The Don Craig Room and the Central Coast theatre scene as a whole.

Hopefully, this time around, these brave new local companies will be given the support they deserve.

Rose Cooper