Pitchwhite Productions. The Studio, Holden Street Theatres. 15 Apr 2026
Pitchwhite Production’s presentation of Lochie Daniel’s “original, boundary pushing play” is an ambitious undertaking, particularly within a community theatre context, however the potential is glaringly obvious.
Daniel’s premise for thematic exploration is sound: “the causation of emotional… uncertainties.” Conflict of this kind is always rich material and the basis of many great dramatic pieces. The play draws its title from the interaction between people’s responses to the sudden and mysterious appearance of an otherworldly rock somewhere outside Alice Springs and how those responses shape their interactions with one another. As Daniel’s explains in the program notes, “the limbic system is a function of human intelligence that regulates our behavioural and emotional responses to stimulus,” and it is in the exploration of this utilising the rock that the work finds much of its intrigue. A device necessary to the plot and the motivation of the characters yet ultimately insignificant in itself. Great work so far.
Gracie Greenrod, Holly Hasting and Isiah Macaspac, all versatile rising talents, were tasked with playing something in the vicinity of sixty characters between them. A mammoth task for any cast.
The set, with no design attribution, was simple but very effective: the monolithic centrepiece convincingly powerful, bordered by four staggered flats which ultimately proved to be highly effective AV screens. AV, sound, and lighting while capably designed were the production’s Achilles heel.
Unfortunately, opening night of A Rock in the Limbus was beset by a perfect storm of events that would have shaken even the most experienced cast. Holly Hasting was knocked out of the production on the day by a concussion, resulting in the marvellously talented Ariel Dzino being contacted en route to the show on the bus to read her roles. Challenging enough. However, the tech operator Ritwik Kalra was also called away to attend an emergency, leaving a very complex technical schedule to be managed by someone else. It was a perfect storm that would have crushed lesser beings.
But the show must go on. And it did.
The technical disaster that unfolded was dealt with admirably and with stoic professionalism by the cast. However, it soon became evident that the tech situation was not going to improve and Daniel wisely called a pause while matters were sorted out. After some time the show resumed and having regained momentum began to reveal the promise it clearly holds.
Greenrod was notable for her stage presence, versatility and intelligent interpretation of text, while Macaspac demonstrated a dazzling range of personas. Dzino was simply remarkable. Script in hand her first read of the play became a “moved read,” one approaching the standard of a polished performance.
This fine cast explored the vagaries of human emotion capably through a series of well written, if somewhat loosely directed, vignettes focused around the mysterious monolith: a catalyst for fundraising barbecues, scientific investigation, relationship and friendship turmoil. Intermission left me curious and excited for what was to come.
However, Daniel made the tough call that given the technical complexity of Act Two it would be prudent to cancel. This was unfortunate and I can’t help but wonder with hope whether this capable cast might have pulled it off without all the technical bells and whistles.
But that remains as mysterious as the monolith at the centre of this potentially fine piece of theatre.
John Doherty
When: 15 to 18 Apr
Where: The Studio, Holden Street Theatres
Bookings: Closed
