The Hanging

The Australian gothic motif of lost children in a vast, foreboding landscape has long occupied the works of artists and writers. It can be traced at least back to McCubbin’s Lost and Lindsay’s Picnic at Hanging Rock, most famously adapted to the screen by Peter Weir. As a motif, it has long fascinated both artist and audience alike and is the central trope in Angela Betzien’s, The Hanging.

When three teenage girls mysteriously disappear, it is detective David Flint (Luke Carroll) who tries to piece together the puzzle. Only Iris (Ashleigh Cummings) has been found but she can’t recall what’s happened. Her teacher, Ms. Corrossi (Genevieve Lemon), is enlisted to unlock her memory, her confusion, her anxiety – and doubtless that of the audience as well.

As a tense, claustrophobic three-hander, The Hanging is driven along by taut dialogue, which according to Luke Carroll, is the life-force of the play. “Angela Betzien has written a beautiful work,” said Carroll. “The rhythm and the beats are all in the writing. It’s rapid fire in places, then stops to allow our thoughts to breathe, then goes again.”

Secrets are revealed but not all is resolved – so the audience is still left ‘hanging’ – as the title suggests.

Clearly a highlight for Carroll is renewing his partnership with director Sarah Goodes, a collaboration that began last year with STC’s Battle of Waterloo. “I love working with Sarah. Apart from being amazingly talented, she is a lot of fun,” he said. The Hanging will be Goodes’ last show for STC as she takes up an associate directorship at its Melbourne counterpart. She leaves behind a striking body of work. (GW)

Until Sept 10, varied show times. Sydney Theatre Company, Wharf 1 Theatre, The Wharf, Pier 4/5 Hickson Rd, Walsh Bay. $50-$58. Tickets & info: sydneytheatre.com.au or 02 9250 1777.