APOCOLYPSE Spoiler-Free Review

APOCOLYPSE
D'Faces Youth Theatre
TICKETS: APOCALYPSE | Adelaide Fringe

Apocalypse, co-written by director/facilitator Michal Hughes and the D’Faces teens, originated as a sprawling 22-cast, three-act, two-hour epic. This tight one-hour rendition smartly showcases six of their most senior actors, distilling the chaos into an intimate, high-stakes punch.

Harper Matthews commands the stage as the birthday girl Grace, anchoring the show's energetic flow from her standout opening monologue. Her delivery sets a lively tone, blending vulnerability with sharp timing that propels the ensemble through the chaos of the unfolding apocalypse.

Sarah Smyth delivers a riotous triple-threat performance as Georgia, Mr. Moores, and Stephen, each role bursting with distinct humour that had the audience in stitches. Her knack for leaning into stereotypes with caricature creates character pivots that amplify the play's comedic bite.

Amelia Walden captivates as Ruby, her poignant monologue tracing the harrowing loss of identity during the zombie turn with raw, unflinching depth. Walden navigates the emotional descent from confusion to feral instinct with striking authenticity, her voice carrying intimate desperation even in the intimate venue.

Annalise Fisher brings heartfelt emotional range to Emma, infusing the role with a quiet intensity that resonates through the group's dynamics. Her character work captures the terror and tenderness of survival instincts clashing with lingering humanity, drawing the audience into every flickering expression of fear and resolve.

Reanne Warner embodies Violet with a magnetic blend, layering subtle emotional undercurrents beneath the zombie outbreak's frenzy. Warner's nuanced choices highlight Violet's inner turmoil, making her journey compelling amid the chaos and earning genuine audience appreciation.

Lilly Pyett shines as Zoe, channelling a vibrant emotional spectrum that elevates the ensemble's teen camaraderie into something profoundly moving. Her committed character work weaves resilience and raw feeling.

In the venue’s close quarters, microphones were unnecessary, with raw voices being able to carry beautifully. Voiceover audio bridged time jumps with flair, cleverly masking quick costume changes, although they began rather quiet and difficult to understand. A capella bursts of deliberately uneven skill added quirky charm to the undead interludes.

Adelaide roots shine through in cheeky Whyalla nods to the city, landing extra laughs for this festival crowd. Meta gags—especially on the trimming of the script and acknowledging the audience—hit with perfect timing and knowing applause.

The singular set of milk crates, a sofa, tables, and abundant (pre-dinner-teasing) food props grounded the apocalypse in scrappy realism.

The program teases 2025’s fuller cut with dancing zombies, hinting at even more from this talented teen crew. Overall, a solid outing that could regain depth by trimming ad-libbed bits instead of core scripted moments.

D’faces is a not-for-profit organisation supporting regional youth through the arts, based in Whyalla, providing workshops and special programs in performing and visual arts.

- Andrew Broadbent