Strange Children at the Herald Theatre

Writer Stephanie Johnson has produced an intriguing work that boldly steps into territory that is seldom explored in New Zealand theatre.

The central story drawn from the margins of 19th-century colonial history is intercut with a contemporary drama about surrogate pregnancy and fleeting glimpses of a dystopian future. These parallel worlds are linked and contrasted through an intricate web of echo and allusion.

Johnson brings a novelistic sensibility to her stage writing and it is difficult to think of a recent New Zealand play that has achieved such levels of complexity.

The narrative veers between intimate personal drama and contemplation of broad social themes.

The work raises questions without feeling the need to provide all the answers.

The audience is kept guessing as to where the play is going and the writer scrupulously avoids anything as neat as a climax or resolution.

The historical figure of Loti Wilmot is brought to life by Sarah Wiseman's refined performance and powerful stage presence. She brings warmth and vitality to a character who at times appears arrogant and self-satisfied.

Loti's contemporary manifestation as a surrogate mother draws a sharp contrast between the tragedy of 19th-century child mortality and our current obsession with engineered fertility.

But unlike the multifaceted historical figure, the modern day Loti is a one-dimensional character - businesslike and efficient without revealing any deeper emotions or motivations.

Rachael Dyson-McGregor gives a wonderfully vivacious performance as Loti's daughter Rosina.

The relationship between Loti and her daughter is one of the most engaging aspects of the play. As Rosina struggles to climb out of her mother's shadow she is able to puncture Loti's sense of self-importance and reveal something of her vulnerability and tenderness.

David Aston pulls off a superb piece of cast doubling as he switches between a self-confident Victorian patriarch and the timid, self-deprecating partner of the Minister of Women's Affairs.

His performance brilliantly exposes the radical discrepancy between 19th-century notions of manhood and the on-going identity crisis of the Kiwi bloke.

Director, Michael Lawrence shows a flair for establishing mood and building tension though I wondered if a less naturalistic design might have allowed for greater fluidity as the play switched between time periods.

Potent Pause Productions should be applauded for committing to a risky venture that certainly deserves to succeed.

Strange Children is a challenging, idiosyncratic work that expands the horizons of New Zealand theatre.