I walked into August: Osage County at Metro Arts on Saturday night with no prior knowledge. I had seen a production by the Acting cohort at the Queensland Conservatorium, Griffith University before, so I knew they were good. Nothing, however, could have prepared me for the storytelling I was about to witness.
The Pulitzer Prize-winning play, written by Tracy Letts, is dark, but it’s packed with moments of humour. It follows a family coming together after the disappearance of Beverly Weston, the patriarch of the household. Along the way, it explores grief, death, infidelity, assault and drug abuse. These are heavy themes to bring to the stage, but the cast handle them with care.
It is obvious these performers have become a close-knit ensemble over the past three years. That chemistry shines through in every scene, with impeccable comic timing across the entire cast.
Michael Hawkins plays Beverly Weston, and his opening monologue immediately sets the tone for the play. A southern drawl fills the theatre as the man of the house discusses his wife’s needs with Johnna, the new live-in carer and housekeeper. He portrays an alcoholic father with precision and restraint, never once falling into the trap of an overacted stereotype.
Enter Violet Weston, played by Bonny Treloar, the matriarch of the family. Violet is a spiralling drug addict with mouth cancer, trapped in a constant state of paranoia. Later, this is compounded by the apparent suicide of her husband.
Treloar commands the stage from the moment she enters, delivering an authentic and deeply layered performance. Her spiteful remarks and cutting delivery towards her family never feel cruel for the sake of it. Instead, they come from a place of deep hurt, making even Violet’s harshest moments feel heartbreakingly human.
Treloar navigates the heightened emotional points with incredible power while still allowing the quieter, more vulnerable moments to breathe.
Throughout the play, we are introduced to the three Weston daughters. Georgia Cassidy plays the eldest daughter, Barbara Fordham, capturing eldest sibling energy perfectly. Her Type A personality is evident throughout, even as everything around Barbara begins to unravel.
Jamie Watson plays Bill Fordham, Barbara’s husband, taking a character that could easily fade into the background and giving him a genuine emotional journey. Although Bill has emotionally checked out of his marriage, Watson still shows the care his character has for both his wife and daughter.
Ivy Weston, played by Mia Thomas, is the middle daughter who has remained closest to her parents. As the story unfolds, her patience begins to wear thin. Thomas plays the role with quiet confidence, making it clear that she is exhausted by her opinionated mother and often unhelpful siblings.
Karen Weston, the youngest of the three sisters, is played by Olivia van Gool. If Cassidy embodies eldest sibling energy, then van Gool absolutely nails youngest sibling energy. Karen is bubbly, constantly talking, and always eager to remind everyone just how wonderful her life is.
Christina Morgan plays Mattie Fae Aiken, Violet’s sister, navigating the complicated character with precision. Morgan creates a character who is as frustrating as she is entertaining.
Jack Miller plays Charlie Aiken, Mattie Fae’s husband. Miller brings just enough bravado to stand up to his wife while also revealing Charlie’s softer, more caring side, particularly in the scenes with his son.
Little Charles Aiken is played by Oliver Hunter, who quickly became an audience favourite. The audible “awws” throughout the theatre were proof of that. Hunter’s awkwardness, gentle nature and the constant belittling from his mother made the audience want to take him under their wing and protect him.
Ellie Dawson plays Jean Fordham, daughter of Barbara and Bill, delivering the bratty teenager with perfection. Every disapproving glare aimed at her parents feels utterly authentic. She captures teenage exasperation with uncanny accuracy.
Ben Jason-Easton plays Steve Heidebrecht, Karen’s “perfect” fiancé. Jason-Easton portrays the sleazy Steve with an unnerving ease that makes every scene he appears in increasingly uncomfortable.
Naire McDonald plays Johnna Monevata, the Westons’ live-in carer and housekeeper. Johnna increasingly becomes the quiet thread that holds the family together. McDonald brings a warmth and gentleness that provides a welcome contrast to the chaos unfolding around her.
The level of skill, emotional intelligence and passion for the craft displayed makes it clear this cohort means business. Directed by Ngoc Phan, it is obvious these performers have embraced every lesson from their award-winning director.
The staging is equally impressive, making clever use of the space with clearly defined rooms of the house while leaving the walls open so the audience can witness the action unfolding throughout the home.
Another directorial choice that stands out is combining Acts Two and Three into one continuous act. This meant the audience went into the interval with Violet in a delusional state, repeatedly chanting, “And then you’re here,” before the production goes full circle, ending with Violet once again alone, softly repeating, “And then you’re gone.”
It is a simple but incredibly effective framing device that left the audience sitting with the emotional weight of the family’s journey long after leaving the theatre.
August: Osage County serves as a reminder of the exceptional training available to young performers right here in Queensland. If this cohort is anything to go by, the future of Australian theatre is in very good hands.
August: Osage County is presented by the third year Bachelor of Acting students from the Queensland Conservatorium, Griffith University. It runs to 18 July at New Benner Theatre, Metro Arts. 97 Boundary Street West End Qld 4101.
Tickets: https://metroarts.com.au/event/august-osage-county/
Website: https://www.queenslandconservatorium.com.au/
Socials: https://www.instagram.com/qldcon.acting/
Photo credits: Chloe Forbes
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