REVIEW: The Lovely Bones – Beenleigh Theatre Group

Thank you to Beenleigh Theatre Group for the invitation to attend The Lovely Bones. Directed by Roslyn Johnson, this play is adapted by Bryony Lavery from Alice Sebold’s haunting novel. While I must admit that the story has never resonated with me, neither in book form, film, nor now in this stage version (sorry, but it's far too sickening and depressing for me), I approached the production with an open mind and a genuine desire to find the heart of what draws others to this tale.

Set in the 1970s, The Lovely Bones follows the tragic story of 14-year-old Susie Salmon, who is murdered and watches from the afterlife as her family attempts to process their grief and move forward. It is a story of loss, longing, and the threads that connect us—even beyond death.

The show opened to the ethereal sounds of Joni Mitchell’s Both Sides Now, setting an appropriately melancholic tone as Susie wandered silently through the space. Holly Delchau, as Susie, brought a gentle and ethereal presence to the role, with a youthful and desperate vocal tone that underlined the character’s ghostly narration. Holly's efforts in creating a sense of longing and hope were admirable, and she held the emotional centre of the piece with care.

Andrew McArthur was a standout as the unsettling Mr Harvey. From the dishevelled combover and dated sweater to the disturbing calmness with which he delivered lie after lie, Andrew walked the line between ordinary and horrifying with skill. Particularly clever was his performance in scenes where he had to portray a character who was clearly lying but not doing it well, and somehow make that convincing. His final unravelling was chillingly performed and left a strong impression.

The set, designed by Ian Johnson, was one of the most remarkable elements of the production. A turning set piece for the Salmon family home and a two-storey rotating unit for Mr Harvey's house allowed for clever and dynamic staging. The rolling cornfield and transitional lighting created a liminal space between the real and the supernatural, though at times the frequent transitions felt abrupt, and scene changes lacked fluidity.

The supporting cast gave varied performances. While all actors seemed highly competent, I found the emotional engagement was lacking at key moments, especially within the Salmon family. Their grief, which should have been the emotional core of the play, often felt muted or distant, making it difficult to connect with their journey. Justin Ryan as Jack Salmon gave a solid performance, but I struggled to see the depth of obsession and anguish the character required. Hannah Davies as Abigail and Leah Harford as Lindsey similarly didn’t fully convey the emotional weight of their arcs, which diminished the story’s intended poignancy.

The portrayal of Holiday, the family dog, was a unique choice, puppeteered by Thomas Wood using a stuffed toy. While unconventional, Wood handled the role well, and the dog’s silent presence served as a subtle but persistent reminder of all the things unsaid.

Some characters, such as Naviah Morris as Ruth and Cameron Samimi as Ray, seemed underwritten in this adaptation. Though they played intriguing roles in Susie’s world, their storylines never quite bloomed into full relevance, leaving their emotional impact underdeveloped.

The costumes and hairstyles firmly rooted the production in the 1970s, and I appreciated the attention to those era-specific details. Accents, however, were inconsistent and sometimes distracting, occasionally slipping out entirely. Lighting by Chloe Harrison and sound by Levi Rayner supported the eerie atmosphere effectively. Sound design made some bold choices, ranging from David Bowie to voiceovers that occasionally jarred with the tone and emotional gravity of the play. While innovative in intent, the AV elements sometimes confused rather than enhanced the story, particularly when the symbolism wasn’t clear.

While The Lovely Bones was never going to be an easy or uplifting night at the theatre, this production did offer moments of clarity and performance strength—particularly through Holly's sincerity and Andrew's unnerving portrayal. The material itself, with its heavy themes and dreamlike narrative, is difficult to adapt for stage, and this version struggled with pacing, tone, and emotional engagement throughout.

Ultimately, while this production didn't resonate with me personally, I acknowledge the effort and commitment it takes to stage such a complex and emotionally layered work. I respect the cast and crew’s ambition in tackling such a sensitive and surreal piece of theatre. Theatre is, after all, a space for bold choices and brave storytelling, even when it doesn’t land for everyone. I left not quite knowing whether to applaud or book a therapy session… possibly both.