As an NSTA Representative, I had the privilege of attending the Reed’s School production of Cloudstreet on Thursday 27th November 2025. This richly layered and technically demanding play was brought to life under the direction of Mr Silk and Mr Lees, who produced a polished play and a powerful piece of theatre. At the heart of this play lies its characters, and this production was expertly crafted from beginning to end with remarkable acting performances.
Cloudstreet is a stage adaptation of Tim Winton’s novel, which tells the story of two families, the Pickles and the Lambs, in a single house in post-war Perth, Australia. The play interweaves their lives, dramas, and shifting fortunes as they navigate grief and hardship. The play by Nick Enright and Justin Monjo opened in Sydney in January 1998, produced by Company B and Black Swan Theatre for the Sydney Festival. The play won several Australian theatre awards, including an AWGIE Award in 1999, and the Helpmann Award for Best Play and Helpmann Award for Best Direction of a Play in 2002.
The play is a story of broken people seeking redemption, and this production delivered a fantastic ensemble performance. The Lambs, from the very first scene, created a whimsical and heartfelt portrayal of family life. We were immediately drawn into their world as we witnessed the terrible accident involving the young son Fish, played with nuance, skill and sensitivity by Ben. Daisy delivered a mature and compelling performance as Oriel, the determined yet emotionally burdened mother. Daisy’s journey as a character led to some very tender moments, which Daisy navigated with aplomb. Louis, as Lester, offered an emotive and powerful portrayal of a man trying to make the best of a difficult situation. Liam also delivered a commanding performance as Quick. His character’s journey, evolving from a young man uncertain of his place in the world to someone who finally finds connection, was expertly executed and his range of emotion was a joy to witness. His scenes with Ben’s Fish were especially powerful, revealing the fragile bond between the brothers.
The Pickles family brought an injection of energy and humour to the performance, Will, who played Sam, gave a convincing commanding portrayal of a man who was trying to do the best for his family. Izzy brought warmth and complexity to the role of Rose, balancing youthful defiance with genuine emotional weight. Josh was excellent as the teenager Ted, playing the role with great humour and vigour. Jess, as the troubled matriarchal mother Dolly, played the role expertly and provided a well-rounded performance with the energy and expertly conveyed despair at her gambling husband. Jess fully embraced the role; her command of accent, timing, and emotional range was exceptional. Her portrayal of grief after the loss of her son stood out as one of the evening’s most affecting moments.
The show struck a great balance between light moments and serious ones, so the humour never undercut the emotional scenes. The cast’s chemistry felt genuine, thanks to solid direction, and their relationships unfolded naturally onstage. This was expertly delivered in the quiet, heartfelt moment between Quick and Dolly as they talked about Fish. The scenes with Rose and Sam were also strong, showing a father honestly trying to understand his thoughtful daughter, as was the gentle reconciliation between Oriel and Lester.
The pacing of the production was expertly managed. The gradual build towards the emotional climax showcased the directors’ ability to maintain tension without sacrificing clarity. Fish’s final speech, delivered superbly by Ben, provided a fitting and resonant conclusion.
All the supporting cast helped to create this complex play into a play that was enjoyable and emotional for the audience. The accents across the production were impressively consistent, working in harmony with thoughtful costuming and atmospheric staging to transport the audience convincingly to mid-century Western Australia. The set design was also highly effective; a particularly striking choice was the inclusion of a functioning onstage “swimming pool,” which added a welcome layer of realism and helped to facilitate the production’s rapid scene changes and tonal shifts.
Every individual involved in this production should feel immensely proud. This performance of Cloudstreet stands as a testament to hard work and collaboration. What emerged onstage was not merely a school production, but a fully realised piece of theatre, thoughtful in its concept, confident in its execution, and rich in emotional detail. From the clarity of the direction to the precision of the ensemble work, the show offered moments of humour, poignancy, and striking theatricality. It was, in every sense, a memorable and deeply moving experience, and one that will surely linger in the minds of its audiences for a long time to come.
National School Theatre Awards
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