Djuna review

Djuna is a sexually charged thriller that explores power, vulnerability, and the unsettling dynamics between two complex strangers. Set within the claustrophobic walls of a hotel room, the play pulls the audience into an intimate yet suspenseful psychological struggle between two people who meet to play out a mutual fantasy. Written by Eva Rees, Djuna keeps you second-guessing everything you hear and see until the very last moment.

Dion Mills delivers a captivating performance as Marcus, the right-leaning, financially successful, cisgender heterosexual male. From the instant he steps onto the stage, his presence demands attention. Every aspect of his portrayal, from his confident stride to his phone conversations before Djuna’s arrival, reveal a man brimming with self-assurance with Mills holding a commanding energy that fully embodies Marcus. As cracks begin to show in his demeanour, they reveal an intricate side to the character, providing further dimension to his otherwise unshakable exterior.

By contrast, we encounter Jay Gold's Djuna as an extremely nervous, Gen Z, queer individual. Gold brings raw emotional depth to the role, capturing Djuna’s fragility and hesitancy as she navigates her feelings of discomfort and desire. As the production unfolds, Djuna’s evolution becomes increasingly evident, with Gold portraying a shift from insecurity to a more empowered persona, surprising and shocking the audience along the way.

Kitan Petkovski continues to go from strength to strength and as director, he expertly carries a delicate balance between tension, intimacy, and psychological power. He allows the characters’ shifting relationship to unfold organically, guiding the actors to deliver nuanced, gripping performances. Under Petkovski's eye, he creates an atmosphere where every glance and gesture has weight, amplifying the uncertainty and intrigue that pervades the play.

Rees has produced an enthralling script, where we witness two unreliable narrators, with information changing subtly from scene to scene. Questions like “How old is Djuna?” or “Does Marcus have a wife?” may appear insignificant, but they deepen the mystery when we receive conflicting answers. These inconsistencies create an underlying sense of unease, mirroring the unpredictable mood of the play, as we are unable to determine when an interaction will turn violent or comforting, sensual or sexual. This unpredictability fuels the narrative that keeps us on edge, never quite certain of what’s coming next.

Bethany J. Fellows’ hotel room design amplifies the suspense and horror. While Rees' script has us questioning what we hear, Fellows’ set has us questioning what we see. Is that a bloody handprint on the chair? Where did that blood come from? Her attention to detail is exceptional, including her costumes for Djuna and Marcus. Djuna’s wardrobe, in particular, is thoughtfully chosen and underscores the transformation she undergoes from her first meeting with Marcus, adding another layer to her character.

Jame Paul's sound design features jarring noises and external sounds that seem to want to break through the confines of the hotel room, where Djuna and Marcus are free to be themselves, or anyone they choose to be. As the story progresses, these sounds become more prominent and disturbing, such as the distorted ringing of the hotel room phone, affecting both us and the characters.

Djuna is a compelling story with powerhouse performances, meticulous direction, and immersive design. The tension and horror of the production intelligently come together in its exploration of queer identity, leaving a lasting impact long after the lights go out.

Show Details

Venue: Northcote Town Hall, 189 High St, Northcote
Season: Until 23 March | Wed - Sat 7.30pm, Sun 5pm
Duration: 90 mins
Tickets: $38 Full | $30 Conc 
Bookings: Darebin Arts

Image credits: Darren Gill