Love
Blackwood Players
TICKETS: https://www.trybooking.com/events/landing/1551805
Love, by Finegan Kruckemeyer, who has called Adelaide
home since a young age, follows Oslo, a boy living with his lively mum
Ruthy in the fictional town of Mellingong, as a huge storm forces the community
to evacuate to the town hall on the hill. With space limited to only a few
precious belongings, the idea of “love luggage” becomes central: each person
must choose the items that hold the most emotional meaning.
The story tracks Oslo as he helps gather and safeguard these
chosen treasures, transforming a practical evacuation into a heartfelt
reflection on memory, family, and what people value most. At its core, it is a
community story about love under pressure, with the storm acting as the
catalyst that reveals what matters most to each character.
Just as the story centres on community, so too does
Blackwood Players’ production, supported by an extensive network of local
contributors. Fleurieu Milk Company donated flavoured milk for sale and the
milk crates used on stage; the Men’s Shed of Burnside built the steps; printing
was completed by Catherine Hutchesson MP’s office… the list goes on. One can
only imagine the coordination required to bring these contributions together so
successfully.
First-time director Brooke DuBois has assembled a cast of 23
community members who clearly share a love of the arts, ranging from seasoned
performers to three children just six years old. Each cast member performs with
enthusiasm and commitment, creating a genuine sense of family on stage,
strongly anchored by the actors playing Ruthy and Oslo.
Emma O’Connell takes on the central role of Oslo and
delivers a captivating performance, maintaining audience engagement throughout
the hour. O’Connell has a natural presence that draws the audience in, leaving
them eager to hear each next line.
As Oslo’s mother Ruthy, Carly Whitaker provides strong
support to Oslo’s journey while also shaping her own character with care.
However, with the production relying on natural projection rather than
microphones—particularly in the vast Blackwood Memorial Hall—there were moments
where Whitaker (and others) were difficult to hear.
Narrators Beren Carney and Dr Christina Hagger work well as
a pair, guiding the audience through past stories as characters reveal the
meaning behind their love luggage. They are lively, energetic, and engaging,
though occasional pacing issues disrupt the flow that would otherwise maintain
smoother momentum.
Rebecca Gardner,
Matthew Chant, Katie Adams, and Eryn Kralj appear in supporting roles as
Krishna, Tony, Trish, and Danica respectively, each bringing a distinct
presence to the stage while helping to carry Kruckemeyer’s story through its
flashback sequences with clarity and purpose.
Gardner delivers
a grounded and sincere performance, giving emotional weight to her moments,
while Chant brings a natural ease that makes his character feel authentic and fair
dinkum relatable. Adams adds warmth and nuance, capturing the heart of her role
with subtlety, and Kralj rounds out the group with confident, expressive
choices that enhance the storytelling. Together, they form a cohesive ensemble
within these scenes, ensuring each memory is clearly defined and engaging
without ever pulling focus from the central narrative.
The staging makes thoughtful use of the venue, with limited
seating and opportunities for children to sit on the floor at the front,
creating an intimate and welcoming atmosphere within the large hall. Much of
the action takes place on the floor, while smaller moments are mimed on stage,
resulting in an overall feel reminiscent of a children’s story time.
Singer-songwriter Jen Lush and the Eden Hills Kindergarten
provide the recorded music and songs as audiences enter, and the production
begins with a sung Acknowledgement to Country recorded by the kindergarten—a
refreshing alternative to the spoken form.
Choreographer Cheylene O’Brien has crafted movement and
dance sequences that beautifully capture both the essence of the story and the
director’s vision. Each memory scene features distinct choreography that
enhances the storytelling without ever feeling overcomplicated.
Composer Gareth Chin’s underscore effectively supports and
enriches the narrative, while artist Roger Weiss—present in the
audience—created the projected artwork used as backdrops throughout the play.
Each production element contributes meaningfully to the
overall experience, enhancing the storytelling without drawing focus away from
the cast. Blackwood Players’ Love is a heartfelt production that celebrates
community both on and off the stage. Guided by a clear vision and performed
with warmth and sincerity, it captures the emotional core of Kruckemeyer’s
writing, offering a moving and reflective experience despite a few minor areas
for refinement.
- Andrew Broadbent
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