Lockie Leonard Human Torpedo

Lockie Leonard Human Torpedo, based on the novel by Tim Winton about a teenage surfer and his family, is set in a fictional town in Southwest Western Australia. Murray Music and Drama’s production is a unique a new interpretation of this fun little show.

Ruby’s first direction of a mainstream community theatre show brings her experience from ‘outside the box’ company Riptide, and the first thing that audiences will note is that casting is a little unconventional. While we are used to colourblind casting, this casting is age blind, with some adults playing children and vice versa. While we are used to suspending disbelief in youth theatre casting, or in Theatre in Education productions, this feels like a bigger ask.

Ruby adds three characters to the play, who mostly have a silent presence, but also step into minor roles and participate in lengthened dream sequences that extend on the scripted text. Resembling the frogs that surround our hero’s boggy new home, they are known as The Hedge Gang and are played with dedication and enthusiasm by Holly Creelman, Max Bonner and Tammy Peckover.

Central character Lockie is very well played by Darien Peckover, handling this coming-of-age plot with maturity and depth. Love interest Vicki Streeton is played by Bonnie Creelman, bearing more than a passing resemblance to Gracie Gilbert who played this role in the TV series, bringing a similarly layered and intelligent performance.

Rowan Creelman is strong and convincing as Sarge, branching out to play numerous other roles. Youngest cast member Shaynna Peckover plays most of the adult women and does an amazing job with this large challenge - a talented and clever little actress who is one to watch. The Leonard family is completed by Andy Peckover, who brings a sympathetic performance to the role of 10-year-old bedwetter Philip, transforming well into other roles. Luke Tillman completes the cast, impressive as counsellor John East, and also versatile as other characters.

A multi-level set featuring large fabric waves is used well as multiple spaces are created throughout the show, nicely designed by Andy Peckover and well-dressed by Janine Liddelow. Costumes coordinated by director Ruby Liddelow work well and Joel Gal’s lighting includes good, strong choices.

There are a few things that don’t quite work, including casting (despite the cast’s best efforts), the great score playing lyrics over lines, which means that it can be hard to hear dialogue, and that the show is in an awkward time in space where it is feeling a little dated but is not ready to be a ‘period piece’.

Still lots to like in this feel-good show, which really deserves better audiences.

Kimberley Shaw