End of the Line

End of the Line is the second of Andy Kabanoff’s plays to be produced by Wyong Drama Group. Sepia Secrets, staged in 2016, was a drama exploring his family’s life before and after WWII, which was well-received by local audiences. This is a ‘prequel’ of sorts, inasmuch as it delves further back into the life of his paternal grandmother, Elizabieta, a Polish immigrant who grew up in Russia during the revolution.

The intricate construct of the play weaves together a montage of events in Elizabieta’s life, bouncing back and forth on a timeline between her newlywed years in the early 1900’s to her very old age in a nursing home.

With a cast of seventeen (all ages and levels of stage experience), most of whom carry multiple roles throughout the many scene changes - it’s little wonder this play needed two directors. With both directors also appearing on stage, it’s a credit to them that the layered narratives remain intact.

The sparse but modular set placed greater emphasis on not only the actors’ abilities, but also their focus, with all the tricky entrances and exits (with furniture and props in hand). Scenes alternate between moments of historical significance and personal memories; the latter prove particularly rewarding, especially when ‘older’ Elizabieta is seen on stage reminiscing for some of the more poignant scenes. Young ballerina Indiana Mortimer enhances the atmosphere, punctuating some scenes with small dance interludes.

The title provides the overarching theme of the piece; to not only be taken literally - as a railway motif is present throughout, but also as a metaphor representing the end of the breadline, the end of the life line, the end of the bloodline.

Standout performances include Ruth Jordan as older Elizabieta, with Samantha Winsor as the younger Liz (both are charismatic and engaging) while Alexandra Mitchell, Marc Calwell, Stephen McLaren and both directors all savour the challenge of their multiple roles. Special mention to teenager Chloe McWilliam who maintains poise and focus beyond her years.

There’s a lot to chew on with this piece - especially juxtaposing it with the current state of the world and reflecting on Australia’s changing immigration policies. Kudos again to Wyong Drama Group for going that extra mile to support local writers and performers. 

Rose Cooper