Through These Lines

Darlington Theatre Players’ Through These Lines is a striking, female centred story set in World War One. Fittingly opening in the week of ANZAC Day, it is centred around the experiences of Australian nurse Sister Florence Whiting, through her experiences on her journey and service in Egypt, on the hospital ship Kyarra, in Lemnos and in France.

A difficult play to stage, because it is very episodic, so maintaining flow is tricky. Director Michelle Ezzy has done much to counter this. The show is underscored and transitions supported with a score composed by Kieran Ridgway, and played live by a five-piece band. The music provides sensitive emotional support for the drama, and greatly heightens many scenes, as well as smoothing the gaps between scenes. The set design, by Shelly and Luke Miller, one of the most technically complex I have seen in community theatre, features not only two levels, but three separate revolves, which allow for diverse settings and comparatively quick scene changes.

This play is also very emotionally challenging for both audience and actors, with depictions of suicide, rape, war injuries and death, all of which are handled with sensitivity - but have strong impact. Some elements, including a long scene, with minimal dialogue, depicting an overwhelming number of war casualties, use artistic elements to depict multiple people, with director Michelle Ezzy choosing to perform the show with a small cast as originally written - with six actors depicting 37 different characters - a task that requires both quick changes, and the need to establish new characters quickly - a challenge that seems to be embraced by this small ensemble.

Hetty Lobegeiger plays only the central role, Florence Whiting, and her sympathetic portrayal, and depth of character helps the audience connect to the story - anchoring the production well.

Joanna Tyler very nicely plays four different nurses, endowing each with recognisable traits and personalities - with her portrayal of Staff Nurse April Guildford being especially moving. Amanda Moloney is strong as Matron Ada Watson, and dabbles in Northern English and Canadian accents in other roles, in believable performances.

Alan Gill expertly plays a myriad of roles from larrikin Aussie soldier, through stern figures of authorities and perhaps the most unsympathetic role in the play - quite unnerving for many audience members who will recognise him as an actor known for his charm. Christopher Steicke is excellent in thirteen roles, with his harrowing portrayal of Private Harold Jenkins providing a show stopping moment. Sam Barnett, strong throughout, provides us with a romantic hero in the form of Lieutenant William Davies, whom the audience come to adore.

This show has strong production values, with accurate properties, including impressive stretchers created by Ray Egan, and true to the period costumes excellently designed by Katherine Wackett, Shelly Miller’s lighting design and Chris McRae’s sound design support the production well.

Sensitively and intelligently directed with strong acting and production teams, this interesting and moving Australian play is well worth a look. A great choice for lovers of history, those who appreciate strong drama and those looking for something a little different.

Kimberley Shaw