After a belated opening, Orlando has finally settled into its run at the Belvoir St Theatre. This production of Virginia Woolf’s fantastical 1928 book Orlando: A Biography was written as a long love letter to her lover Vita Sackville-West and is a primer of the 20th century for topics such as gender difference, sexual fluidity and how gender roles have changed over the centuries.
At the time of writing, Woolf’s book not only challenged biographic conventions, but also took on, in all of its complexity, a subject that was hidden from social norms.
It tells the story of a young white-haired aristocrat Orlando (Shannen Alyce Quan), who becomes a favourite of Queen Elizabeth 1 (Amber McMahon), who grants him a title and hereditary lands.
After the queen’s death Orlando mysteriously falls into a sleep, only to awaken, and over the next 300 years is regularly reborn into defining ages as a woman. As Orlando changes so does the world around him/her.
The education and evolution of this version of Orlando, written by Elsie Yager and Carissa Licciardello (who also directs), ends in the present day on a London Circle Line platform, where Orlando (Nic Prior) is witness to a parade of gender diverse passengers alighting and departing.
The titular role of Orlando is played by four actors non-binary or trans actors, (Quan, Janet Anderson, Zarif and Prior), while McMahon is an outstanding Queen Elizabeth 1 (and other roles).
Emily Havea also has multiple roles including that of a striking Sasha, who is Orlando’s first love, while Nyx Calder is the ever-changing literary critic across the ages, Nicholas Greene (and others). Orlando is an exquisite looking production, one of the best on Sydney stages this year.
Set design by David Fleisher is an example of rich minimalism consisting of polished metal floors and flats with few props that is brought to life by Nick Schlieper’s lighting, especially when played off the flats.
Ella Butler’s costumes are a mix of pagan masks representing the constellations who gather to bless an Elizabeth decked out in an outrageous hoop skirt, through to the rich fabrics and luxurious designs for the dancers in the Restoration era.
In the eerie Victorian era gothic period, reminiscent of Bram Stoker and Sheridan Le Fanu, the costumes are monotone black, while the contemporary London scenes look on an inner Sydney platform any Saturday night.
Composer Alan John has taken musical motifs of the era and updated them, most effectively with the pianoforte in the Restoration era, while sound designer Kelly Ryall does not hold back using sound effects for emphasis.
Special mentions also goes to choreographer Shannon Burns, particularly for their work in the Restoration era dance, and to roller skating consultant P. Tucker Worley for getting the cast to skate like pros in the opening act.
This is a brave production, particularly in the casting of trans and non-binary actors into the major roles, and one which goes a long way to addressing Woolf’s original intent.
While some scenes such as the Restoration and final periods may have been too long, full credit to Licciardello for her command of a talented cast, and who like Gina from the Pilbara, is not afraid to mine the script for laughs.
ORLANDO
Upstairs Theatre – Belvoir St Theatre, Belvoir Street, Surry Hills
Performance: Thursday 18 September 2025
Season continues to 28 September 2025
Information and Bookings: www.belvoir.com.au
Images: Shannen Alyce Quan, Amber McMahon and Nyx Calder in ORLANDO – photo by Brett Boardman | Emily Havea and Janet Anderson in ORLANDO – photo by Brett Boardman
Review: John Moyle