Theatre company breaks new ground with Bunyip Barons

Knowing a little of our colonial story from assisting with tours at St Mary’s Cathedral, I was delighted to see part of that chapter of Australian history splendidly brought to life by Upstage Productions in Bunyip Barons. 

The young theatre company has outdone itself in its first performance of an original play penned by its own Timothy Smith. 

Set in the backdrop of 1839 Sydney, Bunyip Barons follows the fictional tale of the historical figure Louisa Ann Meredith of Homebush, who is settling into Australian life just as she comes across a shocking scandal. 

Screenwriter and director Smith weaves together a Dickensian style play brought to life by stellar performances from the ensemble cast, witty dialogue, and set design that steals the audience’s gaze from the first moments. 

With established cast members now veterans of period-specific dialogue, for the first time Upstage has branched out and involved older actors as well, which breathes new life into this production. 

Coming off the back of new motherhood, Kristin Placko brings her all to the role of the passionate, polite, yet assertive Louisa Meredith.  

Don Ezard shines as the titular “Bunyip Baron” aristocrat Everard Coy. He fully embodies the kind of character one loves to hate as his strident classism forms the backbone of the plot. 

Co-starring alongside Ezard, John Brown elevates the play with his dignified servitude as Silas Hegarty, the Coy family servant. His command of the stage, and quiet moments of silent comedy, makes his performance particularly memorable. 

Olivia Ridell brings physical flair to her performance as Arabella, the daughter of Everard and Minnie Coy, effortlessly bringing her character to life with playful magnetism (and wonderful costumes) which offsets the more sedentary or stationery actors. 

Standing shoulder-to-shoulder with this talented cast is Tim Winkels as Wallace Hopkins, an escaped convict. His onstage chemistry with Placko’s Meredith is electric throughout the play’s second half. 

The set design and costumes make Bunyip Barons a treat for the eye. The costumes in particular are proof that Upstage is a rising talent in grassroots stage production and Smith brings the stage to life as a character in itself. 

The script is stylish and professional and although the entry and exit cues seem a little stilted, the direction of the play is stellar. The future is certainly looking bright for Smith and it does him credit that this play stands up well to Upstage’s enthralling Oscar Wilde plays. 

Steering away from their more traditionally comedic roots, Upstage have tackled Smith’s historical drama about convict justice with dignity and respect. The whole play serves as a true love letter to colonial Australiana, prompts reflection on the meaning of national pride, and, in true Aussie fashion, leaves you rooting for the underdog. 

With its intergenerational cast, this is a play for the whole family but parents should be warned the themes may be too mature for younger children. However, the character quirks, props, and liveliness of the acting could keep them engaged for the full two-hour runtime. 

You can see performance times and purchase tickets here. 

Patrick O’Shea is a young Catholic with a thirst for life and tradition.