Blue is a unique coming-of-age tale infused with grief, love and human imperfection. Thomas Weatherall’s award-winning play, directed by Ian Wilkes, provides a detailed exploration of the aftermath of loss, as seen through the lens of a flawed but relatable protagonist.
The story follows Mark (Owen Hasluck, a proud Whadjuk Noongar man) whose transition to adulthood is marked by multiple tragedies. He’s stuck between holding on and letting go; acutely aware of the finality of death and painfully familiar with the ways in which loss re-shapes lives. Drowning in emotions too complex to name, Mark purges his feelings in the form of words, both spoken (to the audience) and written (in letters). His layered story unfolds anecdotally, punctuated with lighthearted asides, vulnerable revelations and bittersweet memories.
Hasluck performs brilliantly as Mark, with vast emotional scope and expressive physicality. He addresses the audience directly, balancing humour, heartbreak and honesty in this captivating 90-minute monologue. A lengthy solo performance is no easy feat, particularly when the role is so emotionally demanding, but Hasluck takes the challenge in his stride. Channelling the character’s irreverent humour as comfortably as he delivers on depression, grief and anger (sometimes in the same breath) Hasluck carries the weight of Weatherall’s words with capable confidence.
Poignant in its unfiltered exploration of relationships, mental health and grief, Weatherall’s writing is weighty with wit. He examines love (in all its complicated glory) contextualised by the dichotomous significance/insignificance of individual existence.
Cherish Marrington’s set design is versatile, unusual and impressive. Two large rectangular panels dominate centre stage. Sometimes transparent, other times reflective (much like the story itself) the panels begin as motionless objects but spin out of control when force is applied to them. The symbolism in the set design is not limited to appearance; it extends to interaction, application and morphability. Throughout the play, these reflective panels become doors, windows, the ocean, a phone booth, a wall and more.
Jarred Wall’s sound design and Matthew Erren’s lighting refuse to intrude upon the story – rather, they augment plot and characterisation through strategic placement and understated intentionality. Ambient tones paint an aural portrait of memory and emotion, while well-known songs connect audience and character through atmospheric resonance and cultural association. The warm lighting of Mark’s happy childhood contrasts against the coolness of his deepening depression.
In one scene, spinning panels, cold reflections and the sound design’s waves breathing combine to visually approximate the visceral experience of drowning. Creative set/sound/lighting designs combine to communicate emotion, symbolise setting and express intangibility – the sensation of floating, a feeling of peace, an ocean at sunrise.
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Raw, unpretentious, and deeply insightful, Blue will kick you right in the heart. Audiences will leave with wet cheeks, intensified appreciation and a burning nostalgia for moments that can never be reclaimed.
Blue by Thomas Weatherall
Presented by Black Swan State Theatre Company of WA
Director: Ian Wilkes
Set and Costume Designer: Cherish Marrington
Lighting Designer: Matthew Erren
Composer and Sound Designer: Jarred Wall
Stage Manager: Sophia Morgan
Cast: Owen Hasluck
Understudy: Tyren Maclou
Tickets: $30-$75
Blue will be performed at the State Theatre Centre of WA until 8 June 2025.
