A Song at Twilight - Old Mill Theatre

Reviewed by Kate O'Sullivan

---

Old Mill Theatre’s production of A Song at Twilight is a visually striking and thoughtfully staged evening of bittersweet comedy, anchored by an elegant design and a clear affection for the material.

Set over the course of a single evening in a luxurious lakeside Swiss hotel, the play unfolds in near real time within the private suite of celebrated author Sir Hugh Latimer and his wife, Hilde. When Hugh’s former lover, Carlotta Gray, arrives for dinner, the premise hints at emotional upheaval, and the script leans into themes of memory, blackmail, and the complicated comforts of long-term relationships.

The production’s greatest immediate strength is its design. George Boyd’s set is genuinely stunning, capturing the opulence of the setting without ever feeling overcrowded. It provides a strong visual foundation for the action, complemented beautifully by Barry and Julie Gordin’s detailed dressing. Mark Nicholson’s lighting design adds warmth and clarity to the space, while Merri Ford’s costumes are both stylish and era-appropriate, with Carlotta’s look standing out as a particular highlight.

Performance-wise, the central dynamic between Hugh and Carlotta drives the piece. Neale Paterson brings a grounded, naturalistic quality to Hugh, portraying him with depth and a quiet sense of reflection. Opposite him, Emily Howe’s Carlotta is poised and sophisticated, though at times her performance leans into heightened emotion a little too early. This occasionally limits the sense of escalation in their rekindled relationship, softening the impact of its eventual unraveling and obscuring some of the nuance that might explain their past connection.

Jennifer van den Hoek offers a believable and steady presence as Hilde, while Jack Riches clearly relishes his role as the hotel’s efficient butler, Felix. His performance brings welcome moments of humour, though it occasionally feels as though it belongs to a slightly broader, more farcical interpretation of the play than the rest of the cast. Across the ensemble, there is a sense that differing performance styles do not always align, which can create some tonal inconsistency.

Accent work, always a challenge in amateur productions, is handled with varying success here. There are moments where consistency slips, particularly for Hilde and Felix, and at times clarity of diction is impacted. A lighter touch in both areas would likely strengthen the overall cohesion of the performances.

That said, this is a production that clearly benefits from careful thought and genuine commitment from all involved. It is a beautiful-looking show with strong central performances and a clear understanding of the play’s emotional core. With a little more alignment in performance style and vocal choices, it has the potential to become something even more affecting.

Reviewer Note: Kate has previously performed at the Old Mill Theatre, and has worked with members of this company, most recently in 2025. Tickets for this review were provided by the director.