The Dress

The Dress is a compelling 90-minute two-hander that remains something of a hidden gem in Melbourne’s west. Directed by Nigel Sutton, the play has been performed regularly over the past few years at the historical Werribee Park Mansion, Melbourne. The production makes thoughtful use of the historic setting, to create an intimate and engaging theatre experience.

Set in 1895 Melbourne, The Dress follows the unlikely but heartwarming friendship between Mrs Hannah Green, a widow in her early 60s, and her longtime friend and dressmaker, Mr Jonathan Bertin, as their lives intertwine in unexpected ways.

Hannah, a forthright Scottish widow of three years, once a celebrated socialite, now drapes herself in black mourning clothes, lives in isolation, and barely leaves her home. She faces the quiet truth of aging, and “seems to have lost her sparkle” — perhaps forever. Bertin affectionately calls Hannah “my beloved Girdie” and muses that she is “the only person south of Collins Street worth meeting!”

Once a darling of Melbourne’s fashion elite, Bertin is slowly being edged out by factories with modern machines producing clothes for the masses. A shirt that would take him fourteen hours to craft by hand could be reproduced in just an hour by a factory worker using a sewing machine. He forbids Hannah from ever setting foot in a “department store,” and when she does, he brands her a “Judas,” lamenting, “you wilfully and thoughtlessly betrayed me, pouring more pennies into the pockets of those men who would see me starve on the streets of Fitzroy”.  By the end of the play, Bertin himself succumbs to the allure of Georges — the Melbourne department store that set the standard for women’s fashion for over 50 years, declaring, “It is not a ‘store.’ It is a majestic experience.”

The main premise of the play revolves around Bertin’s idea to create ‘the dress’ that will outshine all others at an upcoming Masquerade Ball, thrusting both Mrs Green and his own name into the spotlight. The gown promises to lift her from her doldrums while attracting the wealthy clientele his business desperately needs. Like a Cinderella story come to life, will Mr Bertin persuade Hannah to attend the ball? Who will escort her? Will she become the undisputed belle of the night — and will Bertin’s fortunes rise with hers?

The performance unfolds in the entrance hall of Werribee Park Mansion, a grand, imposing space where the audience (maximum of 34 guests) sit around the edges of the room. High ceilings and sweeping staircases add drama, while polished wooden floors, intricate mouldings, and period details evoke 19th-century grandeur, giving theatregoers an immediate sense of history, sophistication, and understated opulence.  The performance bursts to life with a colourful array of props — bolts of fabric, swathes of material, and boxes of clothing and footwear. As ‘the dress’ is created, every stage of its construction is revealed: bodice, corset, petticoats, chemise, and enormous puffy sleeves, prompting Hannah to quip, “I fear I will float up like a hot air balloon.” In a particularly comical scene, she is fitted with a tornure — a curious silk-and-steel contraption resembling a lobster tail, that lifts the gown’s skirts to create the iconic bustle while visually narrowing her waist. Think of it as the great-great-grandparent of the modern hoop skirt — designed entirely to turn your rear into a theatrical statement rather than give your whole skirt any extra room to twirl.

Created by Harry Quinert, celebrated for his designs for Melbourne Opera and The Australian Ballet Company ‘the dress’ is a dazzling triumph of artistry. Quinert followed a traditional approach, pairing a plain, accessible fabric with a rare, ornate one. After months of searching, he found porcelain-blue silk dupioni and a single length of Spanish silk brocade, its shimmering faux-silver leaves reflecting the character’s inner struggle with grief and identity. Period techniques were meticulously applied, including a horsehair interlining, and the ensemble was completed with authentic Victorian accessories: a knitted shawl and recreated 19th-century boots featuring a blue suede panel that perfectly matches the gown. The final reveal of ‘the dress’ is a breathtaking spectacle: Hannah glides down the grand staircase, drawing gasps and applause from the astounded audience. The gown dominates the room, a character in its own right, dripping with elegance, and sheer theatricality.

Sound design by Nigel Sutton brings the performance vividly to life. Recorded music — from the timeless Prelude of Bach’s Cello Suite No. 1 to a string quartet rendition of U2’s “With or Without You” — sets the mood, builds suspense, smooths transitions, and energizes each scene. The haunting chime of a grandfather clock punctuates one moment, adding tension and a vivid sense of time.

Simple yet effective lighting seamlessly shifts the audience from the bright sun filled mansion, to the dark, grimy slums of late 19th-century Fitzroy, where Bertin struggles to live amid the squalor of his fire-ravaged home.

Scottish-born Alaine Beek (a multi award winning playwright, actor and producer) is a force to be reckoned with. Since 2003, she’s been running her production company, Essence Theatre Productions, writing and producing plays including The Dress, What Was That? and Jack & Millie — the latter was selected to be on the 2022 VCE Drama Playlist and toured Victoria and NSW. Alaine delivers a masterful performance as Mrs Hannah Green in The Dress, bringing depth, nuance, and authenticity to every moment on stage. Her expressive gestures, subtle timing, and emotional range make the character utterly believable, drawing the audience into Hannah’s world and leaving them fully invested in her journey. That Beek herself wrote this play is a testament to her extraordinary talent and deep insight into the human psyche, honed over decades of experience in writing and producing theatre. Its engaging story and universal themes give it appeal for audiences both locally and internationally.

Seasoned thespian Scott Jackson (Wind in the Willows, Romeo & Juliet, TV Series: A Dogs Tale) seizes the stage as Jonathan Bertin*, a whirlwind of mischief, wit, and charm. Every moment brims with drama, humour and a little quirkiness, whilst every blunder is smoothed over with a wink, a nod, a sly white lie or his catchcry “sometimes I’m so clever I amaze myself”. Even in the script’s wordiest passages, Jackson’s performance never falters — he holds the audience spellbound from first scene to last, making the character both lovable and unforgettable. *Scott Middleton (Traps, Hamlet, Torch Song) performs the role at other performances.

The Dress features playful, unobtrusive audience interaction, with both characters frequently breaking the fourth wall — tossing comments, asking questions, and passing props into the audience’s hands.

At the performance’s close, guests are invited to ascend the grand staircase to meet the performers and enjoy a glass of bubbly, wine, or a soft drink. Fittingly enough, the next performance of The Dress will be the opening event of Hotel Windsor’s spectacular Masquerade Ball on March 28.

A fun, affordable night out, perfect for couples or small groups, and enjoyable for audiences of all ages.

The dress is the star, but the story steals your heart!

Jonathan Cox

Photography: David Mullins & Cameron Grant