The Natural Horse

Stepping into PIP Theatre for Salad Days Collective’s The Natural Horse is like tumbling headfirst into a brilliantly bizarre daydream; one that’s equal parts absurd, funny, and unexpectedly touching. This Australian premiere of T. Adamson’s work is a great reminder of what makes independent theatre so thrilling: bold risks, inventive storytelling, and performers who throw themselves heart-first into the chaos.

At its core, The Natural Horse is a playful yet poignant exploration of identity, relationships, and the question of what it really means to have, or create a home. Adamson’s script is clever, oscillating between laugh-out-loud absurdity and quietly dark undertones, never losing sight of the humanity behind the chaos. The humour is sharp, the absurdity is delightful, and the delightfully unpredictable story never loses its emotional through line. Of course, of course, I must mention the horse! Some of the most hilarious moments in the show come from the physical comedy performed by the panto’ horse. It’s a quirky choice that definitely pays off.

The ensemble is nothing short of spectacular. Lachlan Orton’s Svetka is a study in grounded realism, which makes the more outrageous characters around him shine all the brighter. Jasmine Prasser as Masha is magnetic, perfectly balancing strength and vulnerability, commanding attention whenever she’s on stage. Georgina Sawyer’s Lil G bursts with energy and impeccable comic timing, a character that’s as passionate as she is sassy. Neve Francis’ Charlotte evolves beautifully across the story, capturing immaturity and nervousness before blossoming into quiet assurance. Calum Johnston’s Anton has the audience in stitches, his expressive face and physical comedy paired with brilliant accent work making every scene a treat. Lauren Dillon’s Kirk rounds out the ensemble with a hilarious, fully realised character, wringing every ounce of comedy from his stage time. The chemistry between all six performers is palpable, creating an ensemble that feels seamless and delightfully cohesive.

Rebecca Day’s direction which is a mix of controlled chaos and calm, suits the script perfectly. The production design is a visual feast: Ada Lukin’s set and costumes have a bold, whimsical palette that recalls the symmetry and quirkiness of a Wes Anderson film. The titular horse is a perfect blend of tatty charm and humour, and little touches, like the delightful “princess pigeon” artwork, add layers of joy to the world of the play. Noah Milne’s lighting design shapes the space beautifully, guiding transitions and accentuating mood, while New Resource’s soundscape brings an immersive, dynamic energy that complements the on-stage action without ever overwhelming it.

Overall, The Natural Horse is a triumph of independent theatre: ambitious, visually imaginative, and bursting with heart. It’s a show that will make you laugh, provoke thought, and leave you lingering on its central themes. If you’re willing to embrace its playful absurdity and sharp wit, it’s a ride well worth taking!

Kitty Goodall