Neighbourhood Watch Spoiler-Free Review - St. Jude's Players

 

7.5 out of 10 stars – 3 more performances remain

A pleasant time at the theatre – Tickets available here: Neighbourhood Watch

Neighbourhood Watch by Lally Katz is a contemporary Australian play that focuses on the unlikely friendship between Catherine, a young, uncertain actress living in suburbia, and her elderly Hungarian neighbour Ana, a war survivor.

In this production, the story is relocated to a suburban street in Adelaide, unfolding over the year between Kevin Rudd’s election as Prime Minister and Barack Obama’s as US President. This subtle political backdrop — a time brimming with talk of change and fresh hope — mirrors the internal changes Catherine experiences. The two women are very different, yet as Ana begins to share her memories, often tinged with loss, pain, and resilience, Catherine begins to see herself, and life, differently.

One of the most striking elements in this production is the inventive use of St Jude’s modest stage space. Director Lesley Reed and her creative team have achieved an impressive feat: conveying multiple time periods and diverse locations without disorienting the audience. The stage is cleverly divided, with two houses positioned on either side. The centre of the stage — the stretch of neighbourhood street, with a cul-de-sac vibe — becomes the communal heart where intersecting lives naturally collide. At the rear, a more abstract design transports us to Hungary — the place where her formative memories reside. This rear section subtly draws us back into her past, allowing swift transitions between suburban Adelaide and war-torn Europe without cumbersome scene changes.

Julie Quick as Ana commands the stage from her first entrance. Her portrayal is filled with wit, warmth, and flashes of abruptness that prevent the character from ever slipping into stereotype. Quick’s accent work, coached to a consistent and natural rhythm, helps establish Ana’s cultural identity from the outset. Her ability to shift between Ana's sharp present-day observations and the vulnerability that seeps through when her wartime past surfaces in noted. In the final scenes, there is a sense that the audience is poised on the brink of tears. While in this performance, that emotional wave didn’t quite crest to its full devastating potential, the groundwork was undoubtedly there.

Ellie Schaefer as Catherine/Cathy/Kitty Kitty brings a layered, measured performance that allows us to witness a gradual unfolding of character. Catherine’s uncertainty and yearning are never one-note; they evolve scene by scene. Notably, Schaefer transitions seamlessly into the role of Young Ana when required, shedding Catherine's physicality and mannerisms entirely. In these moments, she taps into Ana's emotional childhood — a demanding shift that she executes with flexibility. Her various relationships with the other characters draw out different aspects of Catherine, shaping a fully realised character arc.

Dylan Megraw as Ken, Catherine’s housemate, creates a vivid portrait of the aspiring filmmaker with a long-standing bond to Catherine. His easy banter with her feels lived-in and comfortable, hinting at years of shared history. In Act Two, when Ken’s unspoken romantic interest comes to light, Megraw adds a sincerity that prevents the subplot from sliding into cliché. His subplot of having diabetes feels unnecessary, but gave the character more background, nonetheless.

Nathan Brown as Martin, Catherine’s ex, is a slow burn. In Act One, there’s a deliberate decision to paint him in an unflattering light — self-centred, aloof, maybe even slightly menacing. This makes the Act Two reveal even more startling, pivoting our understanding and reframing Catherine’s abandonment issues. It’s a deft piece of acting that leaves the audience conflicted: wary of him yet drawn to his strange charm.

Taya Rose as Katrina (and other minor roles) is a vocal and physical standout, shifting through varying character traits with ease. Her clear diction and confident singing in Act One add a welcome change of tone to the narrative. Gail Morrison as Jovanka (and others) handles accent and character transitions with understated skill, maximising the emotional and comedic potential in every scene she’s in.

Matthew Chant (Chemist, and others) exudes a strong presence. His “booming” voice commands attention, yet he is capable of delicate, sympathetic moments when the role calls for it. Christopher Cordeaux (Young Policeman and others) is a master of physical detail, from ordinary gestures — carrying groceries, delivering mail — to the upright professionalism of his policeman at the Neighbourhood Watch meeting. Megan Robson (Nancy and others) brings authenticity, notably as the well-meaning committee organiser. Her impeccable New Zealand accent is even more authentic given her own origins.

Director Lesley Reed clearly respects Katz’s delicate tonal balance between comedy and poignancy. Interestingly, Reed herself had reviewed Neighbourhood Watch when State Theatre Company staged it in 2014 with Miriam Margolyes, and she seems determined here to honour that production’s integrity while still giving this staging its own personality.

Accent coach Anita Vacsi’s contribution is invaluable, ensuring the Hungarian, Serbian, and other European influences feel lived-in rather than caricatured. This is vital in a play so rooted in cultural memory.

Sarah Bradley’s original score punctuates scenes with an understated emotional intelligence. Sound cues, cleverly shifted from different sides of the stage, add spatial realism. The balance between dialogue and effects is precise — every word is audible itself. Lighting design is equally impressive, seamlessly supporting time shifts from present-day Australia to historical Hungary. Warm, suburban tones give way to cooler, shadowed scenes of Ana’s past, heightening the emotional impact without overshadowing the performances.

At approximately 2 hours 45 minutes (including interval), Neighbourhood Watch is a substantial time of theatre. Yet the pacing is carefully managed — the beats are allowed space to land. Interval provides a welcome breather, with St Jude’s regular refreshments adding a homely touch.

This Neighbourhood Watch is a well-crafted mosaic of memory, friendship, and the quiet dramas of suburban life. While not every emotional high point reaches the poignancy it aims for, the combination of detailed performances, clever staging, and sensitive direction makes for an engaging production.

St Jude’s Players have delivered a heartfelt interpretation, one that honours Katz’s blending of humour and heartache, and leaves the audience reflecting on the unexpected bonds that can change our lives.