Reagan Kelly

Pretend to be normal and everything will get better. There would be few of us in the arts sector incapable of relating to that feeling. While Reagan Kelly is a fresh, Brisbane-based, laugh-a-minute comedy, that’s one of the deeper sentiments lying beneath the ample chuckles. Lewis Treston’s darkly clever script is packed with witty one-liners, ‘so funny because it’s true’ moments and surprises, the audience can barely catch their breath at times.

The story is set in 2013 Brisbane. Reagan is a bit of train wreck; partying herself to oblivion, getting black-out drunk and engaging in anti-social behaviour. As the story unfolds you discover her partying is a kind of self-medication against the ennui she’s trying to suppress. Her brother Oliver appears on the surface to have it all together, but he too is supressing his true nature.

Oliver and Reagan are both terrible at being in relationships. Oliver’s fiancé Bianca knows his heart isn’t 100% hers but she stays with him. Reagan’s not even willing to really refer to her boyfriend Guy as ‘boyfriend’. Their parents, having kindly taken Reagan back into the family home, look as if they’re headed for a divorce. The only character who even seems remotely together is Reagan’s gay best friend Hugh. Even he has his darker moments; falling for someone who is just using him for sex.

While that synopsis might sound poignant, the script is a complete joy. The characters are well-written and recognisable. Themes of love, family and loyalty prevail. There’s an amazing speech about what is normal, and the pressure people feel to conform. You’re reminded of how gay people can struggle with feeling their relationships are shameful or abnormal, due to political, religious and societal pressures. It’s an existential work with a punk twist. Reagan rages against the pressure to ‘settle down’, regarding a partner, mortgage and job as a form of Sisyphean entrapment and spiritual death.

The strongest acting is delivered by Elise Grieg as mum Kristy. Elise has brilliant comic timing, physicality and commitment to character. Her risk-taking and comedic form is matched by Chris Kellet as dad, Ewan. Chris and Elise both bring an adorable awkwardness and sustained energy to their roles. Jason McGovern is charismatic as Hugh. He’s also fearless in his portrayal and show’s some lovely complexity of emotion. Emily Carr shows a lot of power and bravery as Reagan, however the mask slips occasionally as she loses a little focus from time to time. Jerimiah Wray as Oliver could bring a little more to the role, at times underplaying the guilt and attraction his character is meant to be feeling.

Direction by Tim Hill is outstanding. He hooks you in right from the start with Reagan’s energetic, fast-paced monologue describing her night out. The all-white set - designed to look like the interior of every Queenslander home you’ve ever walked into - is also used as the backdrop for projected videography by Nick John Bleeker. Videos serve as set designs for nightclubs, bathrooms and city locations, but also show the characters in action between on-stage scenes. The combination of this directorial choice, along with what must be some tight stage management from Shannon Maugham makes for a very well-paced show. All of the scene changes seem to occur very quickly, helping to maintain the momentum of the comedy. Supporting these changes is lighting design by Wes Bluff, which is on point. So is sound design, composition and vision programming by Brady Watkins. Cues are well-timed and these artists’ work supports the narrative and direction effectively.

It’s a pleasure and delight to see such well-made work from a dedicated, local team. Reagan Kelly is the kind of script you can imagine will grow in popularity as more people get to see it and word spreads. It’s packed full of humour and great characters, and thanks to the local flavour, it’s got an extra element of relatability for audiences to enjoy.

Kiesten McCauley

Photography by Nick Bleeker