★★★★☆
Can two hurt people heal each other? It’s a question with no clear answer, but Gruesome Playground Injuries, presented by new Sydney indie theatre company Unorthodox Productions, doesn’t shy from these complexities.
Gruesome Playground Injuries was written in 2012 by award-winning American playwright Rajiv Joseph. The play follows the relationship of Doug and Kayleen, played by Chris Stamoulos and Darya Miroshnikova, who also serve as co-producers.
We see them when they first meet, in the sickbay of their school. Doug is covered in blood, and Kayleen admits to a stomach ache, which, in reality, is dubious. Immediately, this dichotomy of mental and physical health is established. This looms over the duration of the play as they weave themselves in and out of each other’s lives.
What immediately stands out when watching this production is just how well the story fits in an Australian setting. Stamoulos’ performance as Doug drives this. He carries a zany energy that’s found across every Australian classroom. It’s this that makes Doug so endearing. You can tell he’s a character trying his best, even when he’s not always doing the right thing.
Miroshnikova as Kayleen is a perfect complement. As Doug jumps from one big emotion to the next, Kayleen’s attitude forms in waves. For periods, she’s cool and defensive, but slowly she warms and opens herself up. Though Kayleen is standoffish, she is always endearing. Miroshnikova captures a fragile energy under a tough exterior excellently.
Both Stamoulos and Miroshnikova’s acting skills are strong and improve as the play goes on. They portray the two characters from child, to teen, to adult with ease.
Director Brea Macey’s extensive theatre experience serves to portray this whirlwind of a show at its most raw. Doug invades Kayleen’s space while Kayleen maintains a constant distance.
Most importantly, the two feel deeply real. They’re more than just characters; they offer glimpses into real lives and real experiences.
This show demands that special effects makeup and its stage be changed for each scene. Interestingly, Macey uses music from indie rock bands to play during these transitions. This creates a cinematic element.
Not to mention, there was clearly great thought put into the songs selected. The ones picked absolutely tug at the heartstrings. Oh Ana, by Canadian band Mother Mother, is a particularly moving choice that draws a lot of tension.
The stage design is quite clever. There’s no curtain at the Tap Art Gallery, and as a result, stage manager Alexandra Pelvin and Macey’s choice of furniture is clever. For example, the bed works across scenes in the sickbay, hospital and bedroom. Where the bed doesn’t fit, the characters craftily occupy an area away from the bed. This also helps to create a change in pace.
The play is, for the most part, tonally consistent, though there are a few scenes that falter. Sometimes Kayleen’s insults leave it unclear if it’s meant to be a humorous or solemn moment.
Additionally, the scene addressing Kayleen’s self-harm could benefit from a bit more clarity. As it stands, the dialogue and actions don’t fully convey that this is the central issue, which may lessen its emotional impact on the audience.
Regardless, Gruesome Playground Injuries continues to be an incredibly timeless and moving story and serves as a strong start for Unorthodox Productions.
Gruesome Playground Injuries is presented by Unorthodox Productions and runs to 3 May at Tap Art Gallery. 259 Riley Street, Surry Hills NSW 2010.
Tickets: https://www.trybooking.com/events/landing/1538915
Website: https://www.tapgallery.org.au/gruesome-playground-injururies-22-april-3rd-may/
Socials: https://www.instagram.com/unorthodox_productions_sydney/ and https://www.instagram.com/tapgallery/
Photo credits: Simon Pearce
