If you’re looking for a Christmas show filled with emotional depth, quirky radio quizzes, dry Australian humour and a triumphant ending, Andrea Gibbs’ Carol, presented by the Black Swan Theatre Company, delivers just that.
The Christmas season is often painted as one of joyous family reunions and festive celebrations. But for many, a harsher reality lies underneath the tinsel and pavlova. The festive season often brings with it financial stress, family obligations and grief.
Carol, Andrea Gibbs’ new play, brings those hidden struggles to the stage, spotlighting an often-invisible demographic. Centring on a woman in her sixties and narrated by a quintessential Australian Santa, it is a hilarious and heart-warming depiction of the Aussie Christmas experience and the perseverance of a grieving woman.
I was struck by the statistic that women over fifty-five are the fastest-growing group facing housing insecurity in Australia – a consequence of historical financial disadvantage. In her writer’s note, Andrea Gibbs explains wanting to write a play about a woman in her sixties, and have her story seen.
Gibbs, having spoken to many women living through the reality of insecure housing, successfully captures their intelligence, resilience and humanity in Carol.
The story follows Carol, a widow in her sixties who is about to spend her first Christmas without her husband (whose ashes she stores in a freezer container). Narrated by a larrikin Santa with golden plastic guns riding a tinsel-covered bicycle, Carol’s world unravels when she realises her husband has left her financially vulnerable. She is at risk of losing everything, just weeks before Christmas.
The audience roots for Carol as she navigates a disordered grief group, her bratty son’s demands to ‘save’ Christmas, and an armed robbery in the Morley Galleria car park. Desperate to be seen, Carol finds unlikely solace in Santa, decked out in board shorts and thongs, who has a fitting Christmas song parody for every occasion.
It is no secret that our society often dismisses women as they age. This makes it all the more refreshing to see an older female character given a compelling narrative. Gibbs weaves together the familiar Christmas motif of being naughty or nice with the undeniable reality that misfortune does not discriminate. In the process, she captures the nuance of what it means to be human.
The audience is offered a relatable glimpse into the darker side of Christmas with stark commentary on the current property market and cost of living in Australia, whilst also making us laugh out loud.
With a cast of six under the direction of Adam Mitchell, Carol brings to life an array of hilarious Australian characters. Each represents a part of ourselves or someone we know.
Mark Storen is a stand-out as Santa, or ‘Sack Daddy’ as he cheekily calls himself, growing more mischievous as the story unfolds. Storen’s breaking of the fourth wall with irreverent humour – describing himself as the ‘original overnight delivery service’ and lamenting being assaulted by Mariah and Bublé – showcases the witty writing and attuned direction of the creative team.
Sally-Anne Upton’s portrayal of Carol is layered and moving. Witty in her delivery of her unguarded character, Upton draws the audience in with humour and tenderness as she confronts her grief. Upton embodies the unapologetic honesty and eccentric charm that often comes with age.
Bruce Denny, Isaac Diamond and Ruby Henaway play diverse Australian characters, displaying their range and skills as actors, every performer equally vital to the show. Jackson Harper Griggs is a terrific addition on the keyboard.
Bruce McKinven’s set captures the spirit of a low-key Australian Christmas. A decorated tree stands alongside a keyboard and drum kit, with live music adding warmth and intimacy. The life-sized blue Kombi van, its own character, sits on dollies so it can be manoeuvred across the stage.
Stage managers, dressed as Santa’s elves, shift props and set pieces, enhancing the playful atmosphere. From costume to set to choreographed movement, each detail has a purpose and is cleverly integrated into the narrative.
Beyond being a widow and a mother, the character of Carol is an amalgamation of all the wives and mothers whose quiet work and strength go unnoticed. It is a homage to their stories and a delicate reminder that there would be no Christmas without women like Carol.
Black Swan Theatre Company’s show had me laughing out loud and crying real tears. It reminds us that Christmas, despite its reputation for joy, does not erase debt, grief, or family pressures.
I hope to see more stories like Carol’s on stage and more spotlight given to the perspectives of older women. This production proves that the demographic brims with wisdom, resilience and personality. A triumphant piece, Carol is a must-see this December.
Carol is presented by Black Swan State Theatre Company and runs to 14 December at Heath Ledger Theatre. State Theatre Centre of Western Australia, 174 – 176 William Street Perth WA 6000.
Tickets: https://blackswantheatre.com.au/season-2025/carol
Website: https://blackswantheatre.com.au/
Socials: https://www.instagram.com/blackswanstc/
Photo credits: Daniel J Grant
