You Can't Tell Anyone Spoiler-Free Review

You Can't Tell Anyone - 9 out of 10 stars
Oddsockz Theatre
TICKETS: YOU CAN'T TELL ANYONE by Joanna Richards | Adelaide Fringe

A group of recent high‑school graduates reunite after a party and, while playing the game “Paranoia”, begin to experience terrifying phenomena that bleed into their reality. You Can’t Tell Anyone by Joanna Richards is an evocative exploration of youth, relationships, grief, and belief.

Director Kate Wooding has shaped Richards’ text into an urgent, compelling production that deserves to be seen by as many people as possible. The challenge of fitting an eight‑strong ensemble, props, and set pieces onto a small stage is largely overcome, though a few moments are compromised by faces being obscured behind the onstage speakers. Wooding collaborates with Oona Stephen and Zoe Hourigan, and together the trio deliver cohesive work across costume, set and props, and sound and music design.

As Gwen, Imogen Starr gives an outstanding performance, carrying the weight of her character’s grief over her father, fractured relationships, and responsibility for her younger sister. Starr navigates an enormous emotional load with nuance and control, grounding the production in a raw, believable centre.

Milly Willcox is excellent as Gwen’s younger sister, Tilly, offering finely tuned reactions and expressive facial work. Although she has fewer lines than her castmates, Willcox remains vividly present, using body language to keep Tilly active in every moment.

April Strevens tackles Jeremy with palpable enthusiasm, building a solid, responsive character who feels fully integrated into the group dynamic. Strevens tracks Jeremy’s journey clearly, responding instinctively to the escalating chaos around him.

Lily May’s Willa brings much‑needed levity, offering a lighter presence against the show’s heavier themes. May carefully maintains this tonal balance, ensuring Willa’s personal journey still lands with impact amid the surrounding darkness.

Emily Chapman shines as Kat, a character who constantly prods at the audience’s assumptions and moral boundaries. Chapman gives Kat the backbone she requires while still revealing her vulnerabilities, resulting in several sharply observed, highly entertaining moments.

Mat Preston delivers a convincing turn as Benny, who initially seems to be there just for a good time. As the game deepens and the stakes rise, Preston allows Benny to become increasingly caught up in the consequences of the group’s choices, making his arc satisfying to watch.

Rock‑inspired cabaret artist Sebastian Alexander portrays Luke, the group’s self‑styled tough guy, with consistent physical and vocal presence. His eventual revelations touch on issues that remain painfully relevant in contemporary culture, and this beat of the text is executed with power.

Rounding out the ensemble, Lila Modra plays Nicole, a born storyteller who relishes being the centre of attention. Modra leans into Nicole’s charisma while anchoring the story’s climax; from her pivotal choice, fresh dilemmas and consequences unfold, all handled with conviction and precision.

Though created entirely by young artists, this production treats the play’s heavy themes with admirable seriousness and care. Through the secrets unearthed by the game of “Paranoia”, the company delivers a confronting mirror to the realities young people face, handling the material with sensitivity, intelligence, and respect.

- Andrew Broadbent