REVIEW: Constellations - Allentertainment

Constellations

Presented by: Allentertainment

Venue: Sir Thomas Brisbane Planetarium

Written by: Nick Payne

Directed by: Harrison Allen

Cast B: Anna-Rose van der Wiel (Marianne), Kyle Fenlon (Roland)

Intimacy Coordinator: Heidi Gledhill

Date Attended: 23 October 2026

Photography: Allentertainment

"We have all the time we've always had."

In Nick Payne's Constellations, that line turns out to be a rather complicated premise. This play keeps handing its characters entirely different versions of a lifetime. We follow two people through the infinite possibilities of a relationship. Allentertainment has found the perfect venue for it, too. Where better to explore parallel universes than beneath the enormous dome of the Brisbane Planetarium?

Marianne (Anna-Rose van der Wiel) is a cosmologist at Cambridge University, fascinated by quantum mechanics and the enigmas of existence. Roland (Kyle Fenlon) is a beekeeper. She's interested in the universe; he's all about honeycombs. They don't have an awful lot in common. But at a barbecue, Marianne attempts to break the ice with an unusual conversation starter. It goes rather well. Or disastrously. Or somewhere in between... We witness multiple versions of their first meeting, with Marianne trying the same unconventional approach each time and receiving wildly different responses from Roland.

Nick Payne's writing is fascinating. Thanks to Marianne's crash course on string theory and the multiverse, we come to understand that we're peeping into alternate realities. It's like watching a cosmic game of "Choose Your Own Adventure," where the same duo makes different choices based on different circumstances. Every time we hear that distinctive whooshing sound, it's as if the universe is signaling: "REWIND!" And suddenly, we're back at the start of a conversation, eager to see what outcome will emerge this time around.

The differences can be remarkably subtle. A shift in tone, an awkward pause, or a change in mood can completely alter the direction of a scene. We're gradually piecing together who Marianne and Roland are through these glimpses of their lives; assembling a relationship from fragments that don't always align. Each repeated scene gives us another piece of the puzzle, and the overall picture gets more complex as the possibilities multiply. And not only that, but it doesn't play out in chronological order either! I really admire the cleverness of this writing, and I can imagine how exciting it must have been for Harrison Allen to direct.

I can't even fathom the brain gymnastics those two performers must do. With all those nearly identical conversations, each with just a sprinkle of difference, I'd be terrified of accidentally jumping into the wrong universe! Fortunately, Anna-Rose van der Wiel and Kyle Fenlon (Cast B) navigate this script like pros. Both have gorgeous accents (English and Scottish, respectively) that hit the ear nicely. Their performances cover an large range of emotional scenarios. One moment, Marianne and Roland could be nervously flirting, furious, heartbroken, confused, or overwhelmed with joy. Mostly, they're so adorably goofy together that I kept finding myself hoping we'd landed in a universe where everything works out for them.

Anna-Rose van der Wiel, returning for her second production with Allentertainment, brings a lovely warmth to Marianne. Her curiosity is infectious as she throws herself into explaining some mind-bending scientific concepts. There's a sincere sweetness to her portrayal that makes the character instantly endearing. This makes her later struggles with communication all the more heartbreaking. As her character develops aphasia, Anna-Rose captures the gutting frustration of knowing exactly what she wants to say but being unable to find the words. Language, once her greatest asset for explaining the inexplicable, is now failing her.

Kyle Fenlon is equally engaging as Roland, bringing an beautiful naturalism to the many versions of this beekeeper whose world is considerably more grounded than Marianne's (pun intended). He wears his heart on his sleeve, always trying to fix whatever has gone wrong, even when the situation is beyond his control. He shifts between affection, embarrassment, anger, and anxiety (often in quick succession) as repeated conversations take different turns. I particularly love his marriage proposal/s, each delivered with the same hilariously terrible speech.

Together, Anna-Rose and Kyle capture the messiness of romantic relationships, from bashful flirtations to infidelity, uncomfortable run-ins as exes, and arguments that unfold differently across each universe. There's even a version of their relationship performed entirely through sign language, drawing our attention to their facial expressions, gestures, and physical interactions instead. It's these little variations that make their performances so entertaining and endearing.

Harrison Allen's direction takes full advantage of the Planetarium's unique space. The 'stage' is situated in the centre of the room, with the audience encircling the action. The actors are in constant motion, moving around and across the space - approaching, retreating, chasing, dancing, or circling one another. Their positioning ensures the action can be enjoyed from every angle, without any section of the audience spending too long staring at the backs of their heads.

And then there's the dome overhead. The Planetarium's curved ceiling becomes a canvas for some spectacular projections. Galaxies swirl in a cosmic dance while psychedelic bursts of colour explode overhead. At other times, we're surrounded by towering trees or sitting in the couple's apartment like unexpected guests. The imagery creates an ever-changing environment that captivates the senses. I particularly love the contrast between the vast cosmos overhead and the intimate heart-to-hearts below. There's an entire universe of possibilities to marvel at, yet it's the lives of just two people that command our attention.

The play explores the highs and lows of doing life with a romantic partner by your side. As Marianne's illness enters the picture, the story takes on a slightly more confronting dimension. Her diagnosis raises profound questions about autonomy, mortality, and the choices surrounding a life-altering prognosis - though there is limited room to explore these themes in depth. Against this backdrop, the lighter, more playful versions of Marianne and Roland feel all the more precious, reminding us of the fragility of life and the importance of cherishing time together.

What makes Constellations so compelling is that there's no single version of events we're asked to believe in. We watch Marianne and Roland find, lose, and rediscover each other across different realities, each conversation offering a new interpretation. It's imaginative storytelling that encourages us to reflect on our own choices, relationships, and the lives we might have led.

Constellations is an inventive and intimate piece of theatre, well worth your time. Just don't be surprised if you have a bit of an existential crisis on the way home!