The Admirable Crichton
Writer: J.M. Barrie
Director: Steven Hopley
Genesian Theatre, Rozelle
10 April – 16 May, 2026
What happens when a disaster strips people of the artificial conventions that stratify them, forcing them into survival mode? This is the premise of J.M. Barrie’s 1902 play, lending itself to a gentle, satirical take on Edwardian society.
The progressive Earl of Loam likes to host monthly tea parties so his family and domestic staff can mingle briefly on seemingly equal terms, although Crichton, Lord Loam’s exemplary butler, disapproves of blurring the social strata. It takes a shipwreck to really sweep away their differences and when marooned on a tropical desert island, both aristocrats and domestics turn to the person with the most practical survival skills: Crichton.
Barrie speculates that a vulnerable group of people will naturally coalesce into a tribal structure, with Crichton as chief, while all the women become subservient to him and Lady Mary, now known as Polly, begins to form a relationship with him. But darker elements of absolute power emerge: Crichton becomes dictatorial, meting out odd punishments to the men, and Lord Loam transforms into a slightly ridiculous village elder, indulged by all. Their island idyll cannot last, of course – a rescue ship arrives and once back in civilisation, all resume their former social levels, Crichton and Lady Mary with some reluctance.
Director Steven Hopley allows his actors plenty of time to flaunt their upper-class mannerisms and accents. Amy Tustian plays a charming Lady Mary, with more character than her sisters. Brook Taylor Moore as Lady Agatha and Hannah Heading as Lady Catherine make a good fist of being bored, indolent daughters. Timothy Bennett delivers a lively and lovable Lord Loam but Andrew Eddey shines as Crichton, skilfully shifting from haughty butler to island leader and back. Jono Lukins brings plenty of humour as the flighty and none-too-brave Ernest Woolley and Isabelle Serafim creates an energetic Tweeny, with a lively Cockney accent. The rest of the accomplished cast are very impressive in their minor roles.
The sets (Jack Woodford) are particularly beautiful, ranging from the columns of Loam Hall to the sunlit, palm-treed island, the respective atmospheres enhanced by the creative lighting (Ethan Chan). The costuming (Susan Carveth) for the island sequence is very inventive, while the gowns for the daughters are especially elegant and character-appropriate.
A very enjoyable vintage play, beautifully produced with excellent performances from the talented cast – well worth a visit.
