This Nash Theatre production revives the legendary Gunsmoke radio play, which first hit the airwaves in 1952. Rather than modernising it, they fully embrace its old-timey charm, presenting three 30-minute episodes. Directed by Eddie Bruce, the production pays homage to the golden age of radio plays, where storytelling relied entirely on voice acting and sound effects.
For those unfamiliar, Gunsmoke follows Marshal Matt Dillon as he strives to maintain law and order in 1870s Dodge City, Kansas. His loyal right-hand man, Chester, helps keep the peace, while Miss Kitty provides a romantic subplot. This production features three distinct episodes—Start of a Legend, Bloody Hands, and Chester’s Dilemma—each showcasing different aspects of the Western drama, from thrilling action, moral dilemmas, and comedic exchanges. The story later made the leap to television, and my father recalls watching the series as a child. It’s fascinating to see how a tale that first captivated audiences over seventy years ago still holds its charm today.
Radio plays offer a unique theatrical experience. Unlike traditional theatre, where actors can rely on facial expressions and physical movement, here, everything hinges on vocal performance. There’s no room for mumbling, stumbling, or merely reciting lines—each actor must fully embody their character, making every word feel new and alive. The entire cast excelled at this, with many juggling multiple roles, seamlessly transporting us to the Wild West through strong country accents and dynamic vocal performances.
Marshal Matt Dillon, played by Stuart Loudon, is commanding and authoritative, spending nearly the entire show on his feet delivering his lines. His steadfast presence anchors each episode. At his side, Tyson Hargreaves is outstanding as Chester—his accent feels natural, his delivery effortless, and his comedic timing strong. He even looks the part, strangely enough! The chemistry between Matt and Chester is one of the show’s highlights, their dynamic feeling both lived-in and true.
David Hill deliver a witty performance as both Doc Adams and the Announcer, with well-timed comedic moments. Julia Cox is sweet and naïve as Mrs Bonney in Start of Legend, but I much prefer her as the bold and sassy Miss Kitty later on. Sam Herde is excellent as Francine and even stronger as Edna in Episode 3, where she delivers a charming, manipulative, and flirtatious performance with a wonderful Ohio twang.
There isn’t a weak link in this cast. Brian Bodell’s gravelly voice as Stanger carries the perfect undertone of suspicion and menace, while his portrayal of Charlie, the gruff old mail carrier, is just as memorable. Ian Bielenberg makes a strong impression in his brief scenes as Adam, Brand, and Jonas, bringing distinct energy to each role. Bruce Edgerton’s delightfully over-the-top Ziegler, complete with his exaggerated Dutch accent, adds an extra layer of humour and character.
But the real scene-stealers? The foley artists. Aiden Carey, who also features in Episode 1, showcases incredible versatility. His comedic timing and knack for sound effects make me hopeful that he'll take on more foley work in the future. Overseen by Mark Corben, the foley work does an excellent job as auditory illusion—coconuts for horses, chains for spurs, even scratching on rock to mimic quill writing. Close your eyes, and you’re transported to the Wild West—minus the ridiculous dry heat. Rob Brook’s technical FX design ensures no detail is overlooked, from the sound of a horse dismounting to crickets at dusk. Aiden and Mark were an absolute highlight, often stealing scenes with their exaggerated reactions to key moments—completely unseen by the radio actors, of course—which only made it all the more amusing for the audience.
Bloody Hands brings a more serious tone, reminiscent of the brutal reality of the Wild West—a time when killings were all too common (think A Million Ways to Die in the West, but without the satire). But my favourite of the three is Episode 3, Chester’s Dilemma. It’s the funniest of the lot and stars two of the production’s standouts: Tyson Hagreaves and Sam Herde. Their rapid-fire back-and-forth exchanges never misses a beat, despite never looking at each other behind the microphones. The entire cast has clearly rehearsed to perfection. As a clever touch, the production incorporates period-accurate advertisements from L&M Cigarettes. These add an amusing layer of authenticity, especially when Bruce Edgerton exaggeratedly wheezes and coughs during the ad—a not-so-subtle reminder that Nash Theatre is not endorsing smoking!
One of the biggest challenges in a radio play is engaging the audience without visual cues, yet Gunsmoke kept me fully engaged. The commitment to authenticity extended beyond the performances. The radio microphones and horse saddles, wanted-style posters, the cast program, and even the atmosphere of the venue built in the 1970s—Merthyr Road Uniting Church—contributed to the experience. While I don’t personally recall the golden era of radio, my 67-year-old mother, who I brought along, does. She tells me it feels like stepping back in time, a nostalgic trip to a format that once dominated entertainment.
At a comfortable length with an interval to break things up, the production strikes the perfect balance of suspense and entertainment. It’s a wonderful slice of theatrical history, executed with skilled storytelling, excellent sound design and a whole lot of heart. Seeing it before the recent cyclone business was a stroke of luck, but for those considering going—tickets are still available here! I highly recommend grabbing a show before this slice of theatre rides off into the sunset!
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