Lane Cove Theatre Company’s production of Radium Girls is a sobering reminder of the price that women often pay for obedience. Inspired by a true story, it follows Grace Fryer, a dial-painter who became sick and eventually died from exposure to her employer’s radium-based paint, as she fights for compensation and justice. The real-life Grace Fryer had a younger sister who also worked as a dial-painter, but who was ultimately fired for talking too much. A nephew commented, ‘I always thought that was funny—the person who did the wrong thing, supposedly, ended up living to be an old lady.’
The impressive ensemble is made up of eleven actors, almost all of whom play multiple roles throughout the show, with the exception of Thea Ward and James Yeargain. The incredibly talented Ward leads the cast as Grace Fryer. She is excellent at communicating with only her face - a twist of the mouth or flicker of the eyes. As Grace, Ward is softly spoken and has an air of anxiousness about her that gradually dissipates as the play progresses and Grace is able to develop her sense of self and find her voice. Within the play’s constant swirl of action, Ward’s Grace proves to be a calm and steady presence.
D.W. Gregory’s script is a gift for any director, asking questions about prioritising profit over human life and the legacies that we leave behind. Director Kathy Petrakis says that what interested her about Radium Girls was ‘the moral ambiguity of many characters and how they tread between the fine line of right and wrong.’ We see this in Grace’s mother, played by Annalie Hamilton, who is desperate for Grace to settle because she thinks that Grace is fighting a losing battle, and Alan Long’s Mr Markley, US Radium Corporation’s lawyer, who consistently demonstrates that just because something is legal, does not mean it is right. But it is most apparent in James Yeargain’s portrayal of Arthur Roeder. Yeargain captures the audience’s attention from his first word to his last. It would be easy to make Roeder a caricature, but Yeargain humanises him, delivering a sensitive, complex performance of a man who does not see the forest for the trees. Jack Taylor is excellent as C.B. Lee, Roeder’s ruthless right-hand man. In the hands of a less capable actor, Lee could easily be one-dimensional and unlikeable, but Taylor makes Lee genial and charismatic.
Cinnamon Howearth is a standout as Irene Rudolph and Katherine Wiley. Howearth does an excellent job of distinguishing between the two characters, both in body language and demeanour. Her Irene is slightly flighty and gossipy, adding a certain lightness to the play’s earlier scenes, and the loss of this lightness is keenly felt. (Particularly when Grace idly comments that working in the factory isn’t as fun without Irene.) Another standout is Meredith Blee as Diane Roeder and Rayna Berry. Much like Howearth, Blee is able to deftly switch between her characters; making clear distinctions with just her physicality and voice. Blee has incredible stage presence - even when she is just in the background of a scene, she is great fun to watch. Kate Boughen’s portrayal of Kathryn Schaub is stunning, exuding warmth and compassion. Although she is making her community theatre debut, Boughen comes across as a seasoned performer. She gives one of the best performances of the night and makes Kathryn the heart of the show, her grief initially spurring Grace into action.
Although the subject matter is quite dark, the cast is still able to find moments of levity. Pauline Gardner is particularly delightful as an elderly widow, writing letters to Grace as her case gains notoriety. Cris Bocchi is able to steal a few scenes and displays excellent comedic timing as Sob Sister, who is in constant competition with Jeremy Segal’s Reporter. Segal is able to easily switch between this lighter role and Tommy, Grace’s fiancé. As Tommy, Segal is a grounding presence onstage.
Despite the challenges of a show of this magnitude, under Petrakis’ direction the show is pacy and flows well. Petrakis has brought out the best in her cast, knowing when to let a moment hang and when to bring out the comedy in order to give the audience some breathing space from the heavier elements of the show. Accents would’ve benefited with some coaching, with a couple of actors seeming to struggle and constantly dropping in and out. Entrances and exits could’ve been a little more choreographed - there were a couple of instances of cast bumping into one another, which may have simply been an unfortunate side-effect of performing in a space that isn’t really designed to be a theatre. The set design is thoughtfully done - images are projected onto four screens to signify place, overcoming some of the limitations of the space.
Radium Girls is an engaging and beautifully acted show, another strong offering from Lane Cove Theatre Company, who have programmed a wonderful season this year. Playing until 25 August, it is a must-see for anyone who enjoys historical dramas.
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