Normally, I would bristle at the idea of a two-hour show without an interval, but Woon's concept and storytelling are so intriguing and refreshing that I never found myself growing restless or checking the time. Even so, the script would benefit from some judicious editing to tighten its structure. A subplot involving young footballers Cypress and Jaxson could be removed without diminishing the central narrative or its engagement with homophobia, sexuality, and relationships. With another character already questioning their sexuality, this storyline is repetitive rather than expanding the narrative, diluting the impact of the more compelling arcs.
There are also a few aspects of the writing that would gain from more depth. Dot's homophobia feels too overt and antagonistic, sitting somewhat at odds with the play's otherwise nuanced tone. By contrast, the homophobia Watson experiences by his football teammate Tom is handled with greater restraint and comes across as more believable. However, Tom's resolution arrives abruptly, leaving this transformation slightly rushed.
Rabbit and Watson's love story is captivating from the outset, beginning with a chance encounter at a Lion Dance, a beautiful and visually magnetic opening that draws the audience into its universe. Their relationship is warm, funny and affecting, providing the heart of a story that shifts well between romance, myth and modern life.
Woon's fusion of Chinese culture and mythology with AFL and Australian culture is one of the production's greatest achievements. Instead of treating these elements as separate identities, the script intertwines them into a single theatrical language, drawing unexpected connections between ancient legends, family heritage, and the near-religious devotion that surrounds Australian football.
Eugyeene Teh's costumes reinforce this cultural synthesis. Traditional Chinese garments are layered with contemporary sportswear, while bold splashes of colour ensure each look is vibrant, unique, and complementary to the rest of the outfits. Actors portraying multiple characters execute swift costume changes through the addition of a single accessory or garment, allowing audiences to recognise each role without disrupting the flow of the performance.
Keith Brockett's direction is assured, with a strong understanding of how to utilise the performance space to expand the story's mythology and scope. The football game sequence is especially well executed, combining inventive choreography with Joe Paradise Lui's equally effective lighting and sound design to capture both the homoeroticism and physical intensity of the sport. The intimacy shared by Rabbit and Watson is also beautifully conveyed through their physicality and the quiet moments they share together. Having scenes unfold across different areas of the space, with specific locations dedicated to certain pairings and interactions, further enhances the production's world building and expansion.
Sean Yuen Halley is excellent as Rabbit. He carries himself with an unmistakable sense of regality, yet his yearning and desperation to be reunited with the lover he has lost centuries over feels authentic. His scenes opposite Anton Pan-Cassin as Watson are a finely observed mix of tenderness, longing and humour, making them among the production's highlights. Pan-Cassin gives Watson a complexity that balances the character's confidence on the football field with the uncertainty of entering a world far beyond his expectations. Halley establishes convincing chemistry with each of his scene partners, including Gabriel Partington and Jesse Vasiladis, ensuring every relationship is distinct and genuine.
Dr Cindy Pan is a delight to watch as Watson's mother Jing and as Guan Yin, the Goddess of Compassion. She switches well from the pushy, controlling but flighty mother to the commanding presence of Guan Yin. This is particularly striking in the final moments of the show with Rabbit. While Charlie Morris brings conviction to her portrayal of Dot, she is the character most in need of development as she is often defined primarily by her homophobia and racism rather than as a fully realised person. Giving her greater nuance and a clearer insight into the motivations behind her beliefs would create a more complex antagonist and strengthen the play's focus on prejudice.
Despite some areas that could be strengthened, Rabbit & Watson remains an ambitious work that unites influences that rarely share the same theatrical space. Woon's imaginative collision of mythology, queer romance and AFL culture creates something distinctive, while the central love story provides a moving treatment of selfhood, belonging and the enduring search for connection.
SHOW DETAILS
Venue: Northcote Town Hall, 189 High St, Northcote
Season: Until 26 July | Wed - Sat 7.30pm
Duration: 120 mins
Tickets: $38 Full | $30 Conc
Bookings: Darebin Arts
Images credit: Darren Gill
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