Review: The True Midnight Cry

**Picture (L to R):** Bianca Butler Reynolds (Inez), and Colin W Smith (Thaddeus). *Image credit: Creative Futures Photography*

Following the success of their 2025 production Love You Hate You Drive You Wild the Minola Theatre team has returned to the PIP mainstage, again with a play that features Kat Dekker (Director), Bianca Butler Reynolds (writer and performer), and Colin W Smith (performer). The True Midnight Cry is an epic two act two-hander, that stretches across several centuries and continents. In the first act, Inez (Bianca Butler Reynolds) and Thaddeus (Colin W Smith) grapple with the impacts of the 1840s New England Millerites’ prophesies of the Second Coming of Christ. In the second act, the performance is set in a near future Australia, where Mila (Reynolds) and Conrad (Smith) grapple with their growing attraction and with the ethics of technologies that might predict or even prevent violence.

Promotion for the show, asks if ‘faith or science be the key to ensuring the survival of the human race? Or is one the shadowy mirror of the other, with great capacity for harm?’ A mirror is an important presence throughout each act. Placing a full-length mirror in the 1840s New England home, Thaddeus asserts that a mirror ‘always tells the truth’ and Inez responds this is only ‘if we care to show it.’ At key moments, Thaddeus returns to the mirror—from checking that he looks smart enough to preach, through to his later anguished realisation that Christ has not returned. In stark contrast, in the second act ‘future,’ the mirror is a focal device for key events: Conrad spends much time looking anxiously into the bunker mirror, including the striking moment of self-harm; the mirror is later moved centre-stage as the actors reflectively change outfits; and the mirror is a key device for Mila’s intense response to events.

The playwright’s program notes speak about writing the play ‘for’ Smith, and refer to Reynolds’ development of the work to explore the experience of being raised in the Seventh-day Adventist Church, describing this as a return ‘to the core of what I experienced; holding each learning up to the light to examine it; tirelessly unpicking what was helpful and true from what was harmful and false.’ For me, this comes across most powerfully in the Millerites’ tale, which is referenced in the title of the whole play (as ‘The True Midnight Cry’ refers to a historic 1844 publication rooted in a biblical prophecy).

The True Midnight Cry is a showcase of the skills of each actor, sensitively directed by Dekker. The acts each encourage audiences to consider ‘powerful questions about free will, trauma and the perils of over-certainty.’ However, as each Act works so well as an individual show, I would encourage the Minola Theatre producers to consider offering the work(s) as individual plays—possibly with a 30-minute break—giving audiences the opportunity to purchase tickets for a two-show evening, or to see each play as a standalone event.

Alternatively, I would be interested to see a tighter editing back of the play, even if adding in two additional performers to keep switching between the ‘past’ and ‘future.’ The powerful performances by the two actors include representations of miscarriage and depictions of self-harm, which are impactful, but I question whether they are all essential to the overarching themes. And reducing the changes of costumes and set between several of the many episodes in in the second act might help to keep the pace moving. With the input of a dramaturg, this might also ensure that all members of the audience leave reflecting on the important key themes, including the contrasts between science and belief.

Dekker has assembled a strong team of fellow creatives for The True Midnight Cry. I love the excellent set design and use of the very flexible PIP Theatre space, benefiting from the skills of Regan Henry (Set Designer) and Teegan Kranenburg (Lighting Designer). The first act is beautifully staged in a way that makes me think of 18th & 19th century still life paintings of food, and it is impressive to see how the set is impressively repurposed to establish the futuristic ‘bunker’ and hospital room. Although I am not sufficiently familiar with the music chosen for the show, I enjoyed the interplay between sounds of the natural environment and music that both references folk songs of the 1840s, and establishes a more contemporary feel (Roosje Harder, Sound Designer—with a soundtrack featuring Doretta Balkizas [violin]).

I am pleased to have seen the Preview of this The True Midnight Cry. We are so fortunate in Brisbane to have the PIP Theatre team providing a platform for new works and emerging talent. The True Midnight Cry is an epic showcase of the talents of Kat Dekker, Bianca Butler Reynolds, and Colin W Smith—and might in future perhaps form the basis of a blockbuster novel or trilogy. Go along to see what you think… and look at out for future Minola Theatre work, and for performances by one or more members of this talented trio.

Catherine Lawrence

**Picture**: Act One opening set, Regan Henry (Set Designer) and Teegan Kranenburg (Lighting Designer). *Image Credit: Creative Futures Photography*

Audience information: The True Midnight Cry, PIP Theatre, 20 Park Road, Milton QLD 4064 (13-22 August 2026). Adult themes, including coarse language, themes of death and grief, depictions of self-harm or suicide, reference to sexual assault, depictions of miscarriage & references to terrorism. Some full black plus occasional flashing lights, theatrical haze, and loud noise. 15+ suggested. 160+ minutes (including 20-minute interval). Tickets $30-45, plus $3.30 booking fee.

The reviewer attended the 13 August 2026, 7pm preview.

Produced by Minola Theatre as a co-production with PIP Theatre

Additional credits: Ursula Heesh (Stage Manager), NJ Price (Intimacy Consultant), and Drew Lochrie (featured voice over).

Geoff Lawrence