Ms Julie Gabler: Trapped, at Theatre Works’ Explosives Factory - 2 hours, plus a 20-minute interval

A man mistreats a woman in a relationship – emotionally or physically, or both.

The warning signs are there, so why doesn’t the woman leave? Why doesn’t she get out at the first sign of a red flag?

Photos by Jess Penrose-Coward

If only, it was that simple.

Truth be told, expressing regret, saying they will be better, that they have learnt their lesson often buys the abuser time.

In other words, they can manipulate the situation to suit themselves.

Worse than that, they can place the blame on the other party, try to lay guilt where it doesn’t belong.

Of course, the consequences of all this can be dire.

These are the themes, along with cultural appropriation, explored in Ms Julie Gabler: Trapped.

It draws upon literary references.

These include William Shakespeare’s Othello and August Strindberg’s misogyny and morbid jealousy, particularly in Miss Julie and The Father.

There is also Henrik Ibsen’s form of “feminism”, apparent in Hedda Gabler and The Doll’s House.

Julie (Ruth Gilmour) is a Caucasian actor in a volatile relationship with Indigenous actor Robert (Sermsah Bin Saad).

Each has auditioned for key roles in Othello. In Robert’s case, specifically for the lead.

While Julie secures the part of Desdemona, Robert is overlooked for Othello, in favour of his gay Australian South Sea Islander mate Malcolm (Lenny Cullen Gorman).

But Julie hasn’t yet had the heart to tell Robert that he missed out, nor has the director of the piece, Steve (who we never meet).

Regardless, Robert treats Julie shamefully, forever deriding her and accusing her of cheating on him.

Inevitably, Robert is regretful, if only momentarily, before the nasty cycle of abuse continues.

Julie tries everything she can to appease Robert, but he is deeply insecure.

His issues run deep and broach the culture divide between them.

Meanwhile, Malcolm is feeling guilty because, to secure a grant, he allowed Robert to pass him off as a native Australian, which he is not.

Malcolm is, in fact, mighty proud of his South Sea Islander bloodline and reflects on the ordeal his great grandmother faced as a slave.

Written and directed by Kathleen Mary Fallon, Ms Julie Gabler: Trapped goes behind closed doors to expose the bitter truth about abusive relationships.

She, herself, chose to ignore red flags in a personal situation.

Fallon wanted to hold up a mirror to perpetrators of domestic violence, revealing their cultural dislocation, along with their sexual and psychological torment.

These were insights she gained as a volunteer telephone councillor on a help line.

The story unfolds with sound effects and music, specifically a traditional Persian stringed instrument known as a santoor.

Beautifully played with a pair of small wooden hammers by Cansu Ceren Gonen, it has a stunning melodic tone.

She is joined by Terry Novel on guitar and vocalist Zac Rose, who provides voiceover content, echoing morbid jealousy.

Before the show proper begins and during interval, a haunting song by Gustavo Gomez plays.

While creative and dealing with a critically important subject, I found Ms Julie Gabler: Trapped far too long and repetitive.

It would have had more impact if it was cut in half, with verbiage reduced from two hours plus interval to a tight 60 minutes without a break.

Notwithstanding the occasional surprise, the basic parameters were established very early on.

You knew this would never end well, so it was a case of going along for the journey.

Of course – as was intentioned – it was difficult to sit and watch the abuse and paranoia unfold. It makes for decidedly ugly viewing.

Often, I felt like intervening and telling Robert to stop – to back off.

Nevertheless, as already referenced, here was a case of less would have been more.

With a handful of props and a garden setting backdrop (stage right), the action also moves from the kitchen to the bedroom, where, too, Robert has problems.

As Julie, Ruth Gilmour keeps hoping (in vain) that Robert will change his vicious ways. She displays strength, frustration and the tolerance of Job.

Sermsah Bin Saad has an equally significant impact as Robert. He is volatile, deeply suspicious, accusatory, verbally abusive and violent.

Lenny Cullen Gorman brings angst, pride and regret to his representation of Malcolm.

Lighting and sound design by Shane Grant adds to the unease in the work.

To Kathleen Mary Fallon’s credit, there is a feeling of being on edge throughout, with a gentle stroke immediately followed by yet another knockout punch. It made my blood boil.

So, it is that I say Ms Julie Gabler: Trapped is an important work, but to keep an audience engaged throughout, it needs to be pared back or fresh elements added.

It is on at Theatre Works’ Explosives Factory until 9^th August, 2025.