Melbourne Reviews

Our Monster’s Name is Jerry by Amy May Nunn aims to tell a “queer gothic horror” tale, set in a well-heeled part of Australian outer suburbia. Unfortunately, its storytelling was often compromised by technical issues.

This production is a partnership between Dirty Pennies and Geelong Arts Centre's Creative Engine. Certainly a lot of work has gone into the look of the work, seen through the efforts of the set and costume team: Savanna Wegman (Designer) and Maya Anderson (Associate). A manor is drifting into a state of disrepair, shown by touches like drawing-room wallpaper losing its fight against gravity.

Following the death of her aunt Wendy (Amanda LaBonté), Maude (Laura Jane Turner) has just inherited the manor. The timing is good as Maude’s attempts to have a child with partner Lou (Em Jevons) via IVF have almost bankrupted the couple. The area seems friendly enough, with a warm greeting from a long-time resident and neighbour Barbara (LaBonté again). But (as we are primed to expect) there’s something not quite right about these dim rooms, the scratching in the walls, and that blood stain that no cleaning agent can shift …

There is another presence in the house – eventually named “Jerry” (Tomas Parrish). Mostly lurking in shadows, Jerry keeps watch on their new housemates. Unfortunately, much of what they have to say, especially early on, or when delivered from upstage is either hard to hear, or inaudible. There are also times when Aunt Wendy’s utterances are unable to rise above the sound design. This was apparent from a seat close to the front of the venue. Given the depth of Theatre Works, it seems unlikely that the whole house would have caught all of the exposition and character development.

Given that non-trivial issue, it is extremely difficult to judge the whole. For example, below the stage, miniature houses have lights that go on and off, acting as novel offerings of unknown relevance. Also, sometimes Jerry seems playful or menacing (sort of like Gene Wilder’s Willy Wonka?), but being in dim lighting we often cannot see facial expressions to judge their intent.

If you are guessing at the links between parts, you might just find yourself non-plussed by aspects of a tale that promises horror, but often undercuts this with certain choices. A very fake looking pet cat almost made me laugh out loud. It might also be hard to swallow that the being Jerry fears can be dispatched far more easily than they can.

It should be relatively easy to banish this opening night’s technical gremlins gremlins, which will further highlight the show’s assets. These include the central story of Maude and Lou’s relationship and their struggle to find ways to stay together, which often rings true. Also, all performers vigorously embrace the physicality of their roles as the action develops. Finally, the work does seem to broadly deliver on queer and gothic elements promised.