Romeo Lau
If there’s one thing you need to know about me, it’s that my favourite subgenre of country music is the one where women take revenge on their terrible husbands. Following classical female playwright Jane Wiseman’s sole play Antiochus the Great: or The Fatal Relapse, Hellbent is an exhilarating, buckwild (west) adaptation brought to life by the team behind Going Rogue Theatre.
Walking into the space, we are immediately immersed into the world of the play, with the actors entering 10 minutes before show start time and introducing themselves to each and every individual member of the audience. I found this a very interesting and fun way to establish worldbuilding from the get-go, granting accessibility for a challenging original text. This is then supported by the classic western setting that we all know and love, with its standoffs, love triangles (in this case, maybe a love pentagon?) and above all, vengeance.
Hellbent boasts some killer ensemble and physicality work, a major standout being Bernice’s (Anna Coles) almost doll-like entrance at the very beginning of the play. AJ Sanderson as Doily brings a cigarette-smoking campness as he stuns the audience with incredible dance prowess – undoubtedly, he’s also the choreographer of this production, bringing snappy dance numbers to mark pivotal climaxes of the show.
Writer, director and performer Anna Gion’s performance as Calico blew me away as she flitted between ruthless femme fatale and the child-like persona she adopts in front of her brother Butch (Kaden Caldwell). Accompanying Butch is Briggs (Alessandro Caronna), whose sweet innocent love for Bernice endeared me to him… but also caused his downfall.
As the lead antagonist of the play, Ian Lewis brings an imposing presence to the space as Colonel Lyle, a brash tyrant of the town and unfortunately, Bernice’s husband. Opposing him, Brendan Peloubet and Howie Blow stun as ‘best buds’ Mooseknuckle and Cameltoe, serving up an undeniable homoerotic tension alongside Mooseknuckle’s sweet pining for Bernice. I almost wished I could see more of this throughout the show – Mooseknuckle has two hands after all.
However, there were some moments where the production’s otherwise tight pacing was interrupted, one example that stood out to me being a high tension standoff between Calico and Colonel Lyle interrupted by a burlap sack quick change occurring during a sudden blackout. I’d recommend looking into quick release options, for example velcro or snap buttons- which would make that change much smoother.
A highlight of the production for me was (spoilers!) a clever callback at the end to Calico’s 8 remaining lives, as she tries to commit suicide in a variety of increasingly comical ways. Involving approximately 2-3 maraschino cherries, a rubber snake and a finger trap, Gion had the audience dying with laughter as Calico tried and failed repeatedly in this extended slapstick sequence.
Hellbent: or A Sorry Sight in the West is a daring, handsome riot, perfect for a night out with the girls.
Recommended Drink: A shot of moonshine, sweetened with the syrup of maraschino cherries.
You can catch Hellbent: or A Sorry Sight in the West at Club Silly on October 11, 16, 23-24 at 20:00 (75 mins). Tickets are available through Ticketsource.
Lamesha Ruddock
Clara Sunset
