Review: Jack Maggs at Dunstan Playhouse

‘Brilliantly quirky. Gothically dark. Magnificently re-imagined!’

State Theatre Company South Australia’s adaptation of Jack Maggs, Peter Carey’s novel, brings together a rich, profoundly Australian narrative, stunning performances, and innovative technical elements, creating an immersive experience that captivates the audience from start to finish.

Set in 19th-century London, the story follows the mysterious ex-convict Jack Maggs (Carey’s reimagining of Magwitch) as he returns from Australia, driven by a desperate search for his ‘son,’ Henry Phipps, who has vanished without a trace. Maggs becomes entangled in the strange world of Phipps’ neighbour, Percy Buckle, and his eccentric household. In his pursuit, Maggs strikes a deal with Tobias Oates, a young novelist and self-proclaimed “mesmerist” (or is it perhaps Charles Dickens himself?), hoping to find Phipps. However, Oates has his own agenda and sees in Maggs the perfect inspiration for a new novel.

Throughout Jack Maggs, the great Samuel Adamson explores themes of guilt, salvation, social class, and the effects of past trauma, all with grace and quick wit. Adamson has used Carey’s lush and immersive writing, with a strong focus on character psychology, to create a deeply emotional journey through the storytelling of Mercy Larkins.

At the heart of the production is expert direction by Geordie Brookman, who navigates the complex, intertwining narratives with precision. The direction strikes a shrewd balance between moments of high drama and quieter, more reflective ones, capturing the essence of the novel’s exploration of remorse, redemption, and identity. With the actors beginning onstage ‘warming up,’ the play within a play begins as dramatically as it ends.

The central figure, Jack Maggs, is brought to life by an actor whose performance is electrifying. Mark Saturno delivers a rich, multifaceted portrayal of a man scarred by his past but determined to reclaim his lost humanity. From the raw physicality of his interactions with other characters to the quiet vulnerability in his soliloquies, Saturno masterfully conveys the tension between Maggs’ external toughness and internal fragility. His ability to switch between anger, regret, and tenderness without losing the character’s core is remarkable, making Jack Maggs a deeply sympathetic figure despite his many flaws.

As the ambitious and morally conflicted Tobias Oates, James Smith presents a character driven by both intellectual curiosity and personal self-interest. Tobias’ evolving relationship with Maggs forms the emotional backbone of the play, and Smith skillfully conveys the internal battle between empathy and his social aspirations. His performance is layered, shifting from cautious admiration to betrayal, and Smith delivers each stage of this arc with impressive subtlety, allowing the audience to sympathize with the character even as his darker motives emerge.

As both Percy Buckle and Dr. Grieves, Nathan O’Keefe brings this dual role to life with remarkable skill and depth. Serving as a key figure in Maggs’ journey, he stands at the intersection of mystery and psychological complexity. O’Keefe’s portrayal is both comedic and chilling.

Ahunim Abebe as Mercy Larkin is remarkable. A woman caught between societal expectations and personal desires, she is both a victim and survivor, and Abebe navigates this duality with an emotionally resonant performance.

The supporting cast of Dale March, Rachel Burke, Jacqy Phillips, and newcomer Jelena Nicdao adds richness to the world of Jack Maggs, with each actor bringing intensity, eccentricity, and authenticity to their roles.

The set, lighting, and sound team of Ailsa Paterson, Nigel Levings, and Andrew Howard deliver stunning work. The set is an exquisite optical embodiment of the Gothic Victorian era. The use of lanterns, tableaux, and vaudeville features theatrical and whimsical symbolism, underscoring the design. Stripped down yet exaggerated, it is visually stunning.

The lighting shifts seamlessly between dark, suspenseful moments and more exposed, revealing scenes, mirroring the psychological depth of the characters. The flickering ghostly lights followed by bursts of brightness highlight the contrast of the characters’ inner conflicts.

The soundscape, composed by Hilary Kleinig, underscores the historical context of the play, drawing the audience deeper into the 19th-century London setting, with echoes, footsteps, and ambient sounds that also contribute to the more surreal, psychological aspects of the story.

Jack Maggs is a production that impresses not only with its storytelling but with the seamless integration of technical elements, making for a thrilling and thought-provoking theatrical experience. The direction and performances ensure that this adaptation remains a compelling exploration of the human psyche, identity, and the haunting power of the past.

5 stars

Lia Loves.