This project was made possible by the Australian Government's Regional Arts Fund, which supports the arts in regional and remote Australia. 

A review of King Paddy by Rory McGrath - Northern Horizon Film and Theatre

It always comes as a pleasant surprise when a funny, quirky play deftly tackles such large themes, but the latest play by renowned Darwin playwright and author Sean Guy strikes a delicate balance between hilarity and pathos.

King Paddy, the story of an aloof grandfather who turns his own house into a micronation within Australia, may sound ridiculous (which it certainly is), but it never lets the quirkiness overshadow the play’s deeper themes. Themes of homophobia, identity, survivors’ guilt, and grief can be difficult themes to tackle, but Sean does so with a lot of sensitivity, and his great sense of humour serves as a vehicle to introduce difficult topics. The characters are colourful and distinct, and while you laugh at their somewhat dim-wittedness, there are some very emotional moments that give their silliness a whole new context. We are all humans, and our response to tragedy is often flawed, but you are given a lot of space to empathise with them, which grants significant understanding to their ridiculous nature. Another fine written piece by an incredibly talented writer.

The production itself was put together by an exceptional team as well. My only critique was that projection and volume was manageable, but low in quite a few moments, especially when audio started to play, or the cast was close to the audience.

The inclusion of LGBTQI+ actors and characters has made this production a wonderful opportunity for a diverse range of artists to demonstrate their incredible talents.

Jack Macmillan shines in his role as director. The pacing was solid, the blocking was clear, and his direction lent itself excellently to the play’s style. He is a man with a lot of creative flair for certain.

A cheer for the crew, with Iona Francis as technical director, Pip O’Shea as lighting designer, and Dom Serov as Stage Manager who all helped to create a seamless transition between scenes, and expertly managed sounds, lights, and technical bits and bobs that often go unappreciated. Hats off to you all.

Eloy Mason gives one of his best performances as the green, keen journalist Carter Kline. Mason avoids the cliché awkwardness of a “first day on the job” character and gives Carter a can-do energy that makes you root for him every step of the way.

Mark Bunnett, brilliant as always, brings so much depth to King Paddy, seamlessly moving through so many emotions, never missing a humour beat or moment of vulnerability.

In a play that could easily have become over-the-top, Amelia Aberasturi plays Bella (Isabella) with a lot of much needed subtly. She gives the energy of young lady who refuses to be a victim while also delivering powerful moments of pathos. A sterling performance.

Josh Hutchinson was a joy to watch as Zayne. His queer behaviour makes for an excellent laugh, but he gradually transitions towards a vulnerable and defensive person with a lot of precision. His performance beautifully encapsulates his character arc.

Kamaron Arthur gave a sublime performance as Carlotta. A convincing narrator in theatre is not an easy role to pull off, but Arthur never missed a beat. Optimistic, encouraging, and hilarious in equal measure.

Maili Clarke and Shaun Kirby as the Armed Robbers both brought a wonderful “Ezma and Kronk” energy. Dim-witted without being overly tongue-in-cheek stupid, both were excellent in their respective roles. A few pop culture references came to mind while watching them, and Kirby’s New Zealand, Taika Waititi-esque accent and characterisation was a nice addition. I hold the utmost respect for any actor willing to commit themselves to a small role, and the pair played every moment they had to stage to the hilt.

Tina Matthews as the boss Journalist, another relatively small role, never let a moment go to waste. Authoritarian, “I’m always right” characters can often be frustrating to watch, but in this instance, that was never the case and Matthews brilliantly conveys the ridiculousness of the character. Excellent work indeed.

The yes man Camera Operator was a character who easily could have sunk into the background, but Sam Williams never allowed that to happen. Williams was funny, engaging, and once again, showed strong commitment to a small role. My respect in its fullest.

The set design very strong. It was decorative without being too busy. It made excellent use of the space and supported any and all location changes throughout the play.

An enormous shout out to anyone who supported or was involved in this production. Whoever you are, or whatever you did, you have supported the creation of a wonderful and meaningful production by a team of determined, passionate, and incredibly talented artists.