Presley and Haley have lived alone eating nothing but chocolate and sleeping pills for ten years, since the disappearance and presumed death of their parents. Presley comforts agoraphobic Haley with stories of another reality, a post apocalyptic wasteland inhabited by packs of wild dogs, until one night when a mysterious, homophobic stranger turns their lives upside down.

Philip Ridley either loves fairytales or hates them, depending on how you interpret this perversion of many of their central tenets in The Pitchfork Disney. Rather than triumphing against the evil witch, the Hansel and Gretel-esque Presley and Haley, played by James Smithers and Jane Angharad respectively,  are about the furthest you can get from a happy ending. And rather than being smited or defeated, our mysterious stranger/villain Cosmo Disney, played by Harry Winsome, and his lackey Pitch, played by James Hartley, don’t really face any repercussions after taking advantage of Haley and terrifying Presley. Their crimes are not cartoonish but grotesque.

Smithers and Angharad are a great pair, sparring and caring for each other like true siblings. Impressively, Angharad spends the bulk of the show asleep but still manages to steal the show multiple times. The extreme immaturity and childlike tendencies of their characters, however, is difficult to swallow, once we learn that they were 18 when their parents disappeared, and that 10 years have since passed. The actors are let down a little by the plot as their characters really needed to be younger, or a clearer reason provided as to why their their development has been stunted so severely, in order to suspend disbelief for the entirety of the performance.

Winsome as Cosmo is unpredictable, kindly to Presley one moment and the next erupting with rage. His performance emulates the character of the bad kid in class, delighting in shocking and manipulating his peers.

It’s meant to be an uncomfortable story, the subject matter genuinely disturbing in its depictions of sexual assault, graphic displays of vomit and grime, and overt homophobia. Discomfort builds slowly, creeping to the climax of the performance and there are some great moments where director Viktor Kalka quietens the key dialogue and heightens other elements such as dramatic lighting and music to build tension effectively, but this impact is diminished by outbursts of yelling or sudden movements that break the dreadful spell throughout.

The set of chocolate wrappers and garbage, and costuming of the twins in old, stained tracksuits transports you instantly into their decrepit world, Cosmo and Pitch’s flashy red showmen outfits contrasting beautifully. They are not of the same worlds, although they all live on the same planet.

Purchase your ticket to The Pitchfork Disney here.

Moscato| Wine Pairing

Chocolate is the key element of The Pitchfork Disney, and when you want to pair a sweet food with wine you need to pick something that won’t have its flavour tarnished by the high sugar levels. Enter Moscato, a sweet varietal of white wine that can hold its flavour while munching on a choccie bar to your heart’s delight.

The Pitchfork Disney, Virginia Plain Theatre Co| Tasting Notes

Aussie Season	22 Jul to 5 Aug 2023, Meraki Arts Bar. Produced by Virginia Plain Theatre Co.
Ticket $	$30-32
Writer	Philip Ridley
Director	Viktor Kalka
Theatre Type & Genre	Play, drama
See it if you like	haunting twists on fairytales
Wine Pairing	moscato
Criteria for Wine Pairing	sweet enough to pair with sweets