Letters To Lindy - Melville Theatre Company

Reviewed by Jordan D'Arcy

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Letters to Lindy is an Australian script that explores one of the most infamous Australian stories out there. The titular Lindy is Lindy Chamberlain-Creighton – some may not know her by name, but most Australians will have heard the phrase “the dingo’s got my baby”.

Lindy Chamberlain (as she was then known) was out camping at Uluru (then known as Ayers’ Rock) with her family when her 9-week-old baby, Azaria, disappeared from the tent she was sleeping in. Lindy was widely believed to have murdered Azaria and discarded the body. The basis of Lindy’s guilt was circumstantial evidence, and her lack of hysteria when she realised Azaria was gone. Lindy lost her appeals but was later acquitted of Azaria’s murder due to further evidence being found, after having spent a number of years in prison. Chamberlain v R was (and is) one of the most divisive cases in Australian criminal history.

I wondered if the choice to mount this production at this time was a strategic choice by Melville Theatre and director Melissa Merchant. The sensationalism that surrounded Lindy Chamberlain and her case has been mirrored of late in the media with the trial of Erin Patterson happening in Melbourne in July. The phrase “witch-hunt” is said a few times in this script, and the comparisons in the way Lindy and Erin were both treated by the Australian media and public are very hard to ignore. Further, whether it was called for by the script or whether it was a directorial choice by Melissa, having an ensemble completely comprised of femme-presenting actors was very effective in subtly manifesting the feeling of villainising Lindy in that witch-hunt manner where it was required.

The set was simple, but very effective. The style of the production made it possible for actors to be changing the set and their costumes behind the scene playing out in the foreground, without it detracting from the story. Lars Jensen’s lighting design was elegant and provided a clear sense of time and changing space. I also particularly liked the use of stage blacks with nominal costumes for the Greek chorus in order to differentiate characters.

This show is an ensemble piece, with Maree Grayden portraying Lindy Chamberlain. Maree was excellent and had clearly done her research, particularly on Lindy’s voice and intonation. The rest of the characters were played by three Figures – Ellin Sears, Laura Mercer, and Kate O’Sullivan – all providing clear and differentiated characters. A particular standout moment was Ellin Sears’ quite moving portrayal of one of the male characters writing a letter to Lindy as she neared her acquittal.

Letters to Lindy is a very strong ensemble piece, and although I was apprehensive going in, given the subject matter and need to handle it with care, I really enjoyed it. The script is clearly critical of the treatment of Lindy Chamberlain received, and this production evidently took great care in ensuring that it came across.

Image Credit: Curtain Call Creatives

Reviewer Note: Tickets for this review were provided by the theatre company. A member of this cast is the founder of Theatre Reviews Perth, but an external editor has looked over this review.