Puberty Blues

For anyone who makes it to adulthood, the process of ‘growing up’ is a universal one, even if that of ‘learning to surf’ is not.

The young women behind this new stage adaptation of an iconic Australian story have been shrewd in concentrating their focus on situations from the text that can be most easily (and effectively) dramatized on a stage. Rather than the generally confrontational tactics of the recent television series, this script gets its points across with discretion and tact.

Zoe Muller and Matilda Butler each bring a strong stage presence and engaging personalities to their characters of Debbie and Sue; they make the friendship that is so integral to the piece seem natural and believable, while the protagonists’ yearning for escape comes across with strength and vividness.

Brad McCarthy is believably sensitive and compassionate as Gary; the courtship between he and Debbie is both sweet and compelling. Henry Cooper is a scarily-effective standout playing the kind of thoughtless, egotistical, borderline-psychopath that most of us would hope to never meet.

Incidental music cues provide sharp-yet-subtle support to the drama, while familiar pop tunes help the show to rollick along. Costume design manages to be era-credible but not blatantly so; fibre-optic novelties and lava lamps add a particularly nice touch of set dressing.

The historical time period – true to the text – is communicated convincingly without being underlined or unduly stressed, which allows the audience to reflect on the ways in which society has changed, as well as the ways that it hasn’t.

Anthony Vawser