'Speaking in Tongues' is a masterclass in storytelling, layered dialogue, and human complexity. This Australian gem, known for its film adaptation Lantana, delves into the messiness of relationships and the blurred boundaries of trust and betrayal. Performed at Ad Astra under the direction of Heidi Gledhill, the production provides an immersive journey that requires focus and rewards the audience with an intricate tapestry of characters, plots, and emotions.
The show begins with the cast gasping for air—a perfect metaphor for the suffocating emotions each character endures. The split-stage action instantly grabs attention as we witness two romantic affairs happening at the same time. The intersecting and overlapping dialogue of this scene is both technically impressive and thematically resonant. The actors often speak the same phrases, but with different meanings, emphasising how communication can both connect and mislead. This dynamic introduction sets the stage for a journey of intertwined lives, hidden secrets, and scandalous confessions. Act 1 follows Jane, Sonja, Leon, and Pete - a quartet with more drama than a soap opera. The second act introduces additional characters that we already know from mentions in Act 1 - Neil, John, Nick, Valerie, Sarah - while maintaining the same four actors.
Confused? Let me break it down for you:
Jane and Pete are hitched.
Sonja and Leon are a family package.
Jane and Leon did the deed.
Sonja and Pete got close to a forbidden romance, but Pete ran away.
Valerie is married to John, who is secretly involved with Sarah.
Unlcuky-in-love Neil is head over heels for Sarah, who spills (almost) all her secrets to Valerie, her shrink.
Pete/Jane's neighbour Nick gets caught up in Jane's accusations about Valerie's disappearance.
Meanwhile Leon is the cop investigating the case.
What a tangled web we've got here!
Doll Hunt shines in his portrayal of Pete/Neil/John, showcasing a range of emotions from nervous anxiety to frazzled charm. His scenes as Pete are often a mix of subtle humour and underlying tension, especially during a moment where Pete awkwardly confides in a stranger at a bar, humorously unaware that this stranger has just had an affair with his wife. Hunt captures Pete's loveable cluelessness and his longing for connection with endearing sincerity. As Neil in Act 2, Hunt depicts a lovelorn man consumed by his lost love with vulnerability. His performance, reminiscent of Martin Short in its quirky nature, brings a delicate sensitivity that elicits both pity and empathy. And if that wasn't enough, Hunt takes on a THIRD role as John, the husband of the missing woman Valerie. This character is different yet again, showcasing a raw and powerful display of grief and guilt. He captures John’s anguish as he recounts his story to the policeman and questions whether his silence and inaction may have contributed to Valerie's fate.
Jazz Lane is amazing in the role of Sonja/Sarah, I couldn't get enough of her performance. As Sonja, she embodies strength and unapologetic confidence, directly addressing her own dissatisfaction in her marriage. The connection between her and Lauren Dillon, who portrays Jane, is palpable during a particularly charged scene where Sonja reveals that she is the wife of the man Jane has recently had an affair with. It's a moment of unexpected camaraderie that could easily have been played with hostility, but Lane and Dillon bring a nuanced tenderness that speaks to the complexity of forgiveness and understanding. Meanwhile, Jazz Lane transforms into Sarah, using her voice and mannerisms to captivate, control, and seduce the audience. The transformation of characters is obvious, thanks to both the actors’ versatility and the costume changes that delineate each role.
Lauren Dillon portrays Jane as vulnerable and uncertain, yearning to feel desired. Her performance is deeply moving in its simplicity, especially when compared with Jazz Lane's more dominant energy. Jane delivers a chilling monologue about her neighbour Nick (portrayed by James Dyke), describing the unsettling sight of him returning home covered in blood. This moment heightens the suspense and unease, infusing a thriller-like ambiance into the play's already high emotional tension. In the role of Valerie, the missing woman, Dillon is haunting as she leaves nervous messages for her husband from a phone booth. Her solitude is believable, and the scene's tension mounts as we wonder whether she will make it home safely. The breathless sequence, where Valerie dashes through the bush overgrown with lantana, is a mesmerising rhythmic burst of energy.
James Dyke gives a captivating performance as Leon/Nick, seamlessly transitioning between the two characters. As Leon, the handsome cop and remorseful husband, he conveys confidence and self-awareness. While his depiction of Nick, the suspicious neighbour under interrogation, emanates a simmering tension as he presents his version of events with what appears to be an truthful demeanour. His natural ease on stage is so immersive that I often found myself forgetting I was watching a play; it felt more like a scene unfolding on screen. His understated delivery, particularly in Nick's interrogation sequences, is cinematic, drawing the audience into each subtle detail and heightening the sense of realism in the unfolding drama.
Together, their performances seemed to draw me into the lives of these flawed characters, creating the illusion of witnessing genuine life rather than a mere theatrical production. The play’s structure, jumping between perspectives and timeframes, requires careful attention, but the reward is a gripping, emotionally charged experience. The dialogue is fast-paced, and Bovell’s writing ensures that every word is loaded with meaning, making 'Speaking in Tongues' feel like a complex puzzle where each piece slowly clicks into place. It’s a true testament to Bovell’s storytelling and Gledhill's direction that even the unspoken moments between characters speak volumes.
Chelsea Jewell has designed a minimalist set with framed fabric veils and small props to keep the spotlight on the actors and their impactful performances. Madelyne Leite's lighting and Tommi Civili's sound complement each scene, designed to highlight the emotional undercurrents as the characters’ lives unravel. The play's unresolved ending serves as a poignant reminder of how messy and ambiguous human relationships can be. It’s a play that invites introspection, and Gledhill’s direction ensures that every emotional beat hits its mark. 'Speaking in Tongues' is among the most engaging plays I’ve experience this year. It excels in subtlety, with performances that leave you reflecting on the fragile threads that bind us all.
This production is a must-see for anyone who enjoys COMPLEX storylines, powerful acting, and stimulating theatre. It challenges the audience to look beyond the surface, to listen closely, and to think deeply about the choices that shape our lives.
Now playing until 28th September at Ad Astra Theatre
Tickets available here
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