Review: THE SCREWTAPE LETTERS was Sinfully Entertaining at Seymour Centre

An affirming welcome surprise of a production, boutique and nuanced in its delivery, thoroughly charming in its concept, The Screwtape Letters is a must, especially for all lovers of clown and commedia. Director Hailey McQueen and her team have crafted here a transformation of what could be a lacklustre, perhaps even puerile submission to Sydney's scene into a genuinely entertaining and insightful show with much fortitude in its use of technique and tradition. Polished and precise, The Screwtape Letters is unlike anything Sydney has had to offer this past year.

Screwtape dictates letters to his nephew in regards to the apparently complex occupation of tempting souls to be committed to hell for the consumption of demons. His assistant Toadpipe is scribe and Igor-esque foil to the esteemed Screwtape. They parlay a chain of correspondence, broken up by interludes contrasting Toadpipe's physical and character comedy with Screwtape's straight man. Their back and forth makes parable, and often parody, of the human condition and all the challenges of mind we face as potential battlegrounds between The Devils on stage and the unseen, luminous "enemy".

Yannick Lawry, as the titular Undersecretary of Hell, delivers an aesthetically and methodically delicious deadpan demon. The self-possession that flourishes into furore is well punctuated and directs a smooth trajectory. Opposite him, George Zhao is absolutely an emerging performer to watch closely as he shows true mastery of comedy in his physicality, vocals, and character structure. Although all comedy pairings require give and take, Zhao held much of the weight of the show which allowed Lawry to invoke more subtlety. McQueen teased out efficiency and efficacy in the messages of the C.S Lewis tale in not just her connected contemporary adaptation, but in her restrained, livewire direction.

Although the strength of Screwtape was in its comedic and intellectual balance, represented by the respective performers, the production elements were crucial to its ability to fly as a bespoke spectacle. Isabella Andronos has already claimed awards for her work, and is sure to climb quickly as a clearly talented visionary and execution expert. The apothecary-style stage surrounded by scraps of letter paper backed by a stormy scrim gave the costumes punch and the interludes a confident dynamism. The slippers were a game-changer, as was the black paper/white suit remix. Adam Jones' earworms walked a wire expertly, and dramatic inclusions to what could be a simple device showed talent. The candlelight version of the interlude theme knocked the play's energy out of the park. Ben Anshaw worked with these elements to further punctuate and resonate the action.

Although it took time for pace to come together and performers to sync into the energy and parameters of their characterisation, likely attributable to opening night adjustments and a weaker opening scene, The Screwtape Letters proves to be another high quality offering from Seymour Centre. A spooky and splendid night out, suitable for families, highbrow intelligentsia and all with wicked senses of humour. Reminiscent of Jim Henson, Tim Burton and Groucho Marx all at once, The Screwtape Letters is fiendishly good.

Tickets available here.
Images by John Leung.

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