Brisbane review - Veronica’s Room: mindful theatre, a chiller experience

By Lilian Harrington

Production: Veronica’s Room 

Writer  Ira Marvin Levin 

Company: New Farm Nash Theatre 

Location: The Brunswick Room Merthyr Road Uniting Church

 52 Merthyr Road New Farm

Season: 8- 30 August Fridays + Saturdays at 7: 30 pm.

The spine -tingling 1970’s, psychological thriller, Veronica’s Room, written by American Ira Levin, has opened at New Farm Nash Theatre, under the direction of Susan O’Toole- Cridland, as part of this year’s program. This dark drama features a very competent cast and crew, as it draws the audience into its intricate web of deception, play acting, and suspense with a series of unforeseen twists.

Writer, Ira Levin is well known for his works i.e. “Deathtrap” (one of the longest running shows on Broadway), “The Stepford Wives”, “Rosemary’s Baby” and “The Boys from Brazil”. His writing is poignant, questions and crosses uncomfortable boundaries. Veronica’s Room, is a dark, disturbing thriller. The plot may not suit everyone’s tastes, but for an actor, this play could present a good challenge.

 The play featured (The Woman), Ellie Bickerdike, (The Man) John Stibbard, (The Girl) Al Bromback, and (The Boy) Alex Thompson. The characters are labelled this way for a good reason, which eventually becomes clear; Levin has written this play in a style that blurs reality and perception, so the audience is kept alerted as events move from 1973 to 1935.

In the first Act, two seemingly nice locals, John and Maureen Mackey, met with a young couple, Susan and Larry, in a local restaurant, and invited them up to the old Brabissant Mansion; it is there that they tell Susan that she has an uncanny resemblance to their dead daughter Veronica. They ask her to do them a favour and

 placate their ailing sister, Cecily, who is unwell and impersonate the dead

 Veronica. Unaware of their real motives Susan agrees to take on the role

 of Veronica. She is made to dress up as, and play like Veronica, but she begins to panic when she finds herself locked in the room unable to escape. Further, she discovers that her new boyfriend Larry, is also involved in the deception.  

The old couple show their true identity in Act 2 when the action intensifies and they begin to play out their real dreams and motivation in a dark and dangerous game that will result in Susan’s downfall. Horror and disbelief abound when it is revealed that, John (John Stibbard) and Maureen (Ellie Bickerdike) are brother and sister, with murderous intentions. Maureen, is really the insane Veronica, who murdered her sister back in 1935, and she and her brother have carried on an illicit relationship and played out their bizarre scenario.

Opening with light music which contrasted with the dark setting and lighting effect, which added to the tension, along with the barred windows, the dull brown wall paper and 1935 style furniture, books and puzzles. The four- poster bed was placed up centre stage so the posts limited the action at times; some special props were difficult to see, but replicated the era. The design gave the impression of a prison cell and added to the unease and drama.

This play called for strong characterizations, and there was a good level of sophistication and fluency seen by Maureen/ Veronica (Ellie Bickerdike) who transitioned from the friendly Maureen, to an unnerving demon in disguise. While Al Bromack showed a believable vulnerability and nervousness, both were solidly supported by the talented John Stibbard.

Veronica’s Room is a bold statement which examines psychological manipulation, not for the faint hearted. The audience may be left unsettled, but Nash Theatre has delivered a mindful theatrical experience.