Type – One Woman Show, Shakespearean Adaptation
If you liked – Hamlet, Ophelia Thinks Harder (KXT)
Gia Ophelia: Hamlet schmamlet, Ophelia gets a modern interpretation in a layered production of theatrical insight and a reflection on motherhood
As Annie Stafford’s character, Gia, states in Gia Ophelia, William Shakespeare’s Hamlet is not often performed due to creatives teetering the line between Bell Shakespeare, and woeful adaptation. Much to Gia’s dismay, it means that offerings for a young performer to take on the role of the tragic heroine, Ophelia, are hard to come by. She harbours a deep affection for this woman, this character. Ophelia waits in the wings, taunting her as an aspiring actor. Beyond this, the ticking of time, and the societal pressures of simply being a woman, weigh on Gia’s soul heavily.
Grace Wilson‘s Gia Ophelia negotiates the battlefield of a woman who, much like Shakespeare’s contemplative Dane, wanders the void of intent and action. Stafford’s Gia, however, takes on the expectations heaped on her by society to be something more. A mother. A life-bringer. Someone who ultimately will “settle”.
But Gia yearns to make art – to be art.
“You can’t be a mother and be art,” she exclaims underneath Holly Nesbitt‘s sweeping lighting design. Shades of darkness, hues of blue, and illuminated spots suffocate Gia’s space, whilst a clock sits tauntingly in a minimal stage desing. Gia’s time is ticking, and at 29, she feels that a bell will toll. Though we may beg to heap our own hindsight onto Gia’s journey – 30 is still young/it’s the best years/you have a lot left to look forward to – she harbours her own secret, one she can’t reveal as she explores grief, anger, and fear.
Under Jo Bradley‘s direction, Gia Ophelia keeps its elements lean – making for a perfect touring production. Geita Goarin and Bradley cement Gia’s safety blanket – a literal bed – in one space, while the rest ventures to Brisbane, an ethereal theatrical plane, and the inner battlefield of Gia’s mind. Suggestions are hinted here and there, but it is Stafford who helps direct us when its needed.
Gia Ophelia starts on a soft tone – perhaps too soft…even in the KXT space its both vocally and thematically difficult to hear – before a shift in tone hits sparks as Gia moves from existential idolisation of Ophelia into a one-week “hail mary” acting intensive on Shakespeare. Stafford shifts physically, vocally and theatrically into different characters to paint the world that Wilson wants to flesh out.
Underscoring this world at different points is Otto Zagala‘s sound design, which features Meanjin-based indie rock folk band Red Hill and their songs “Washing Machine” and “Coming Up Blank”. It’s fresh for an indie production to feature emerging indie musicians – it’s kind of meta but in a cool, dramaturgical way.
Is Gia Ophelia Worth Seeing in Sydney?
In such a short run (it finishes on Sunday!) a work that focuses on the inherent calling to make art when the world tells you to settle is a thematic feast. For women, this is a call to listen to your body, as well as to your soul.
Wilson’s text echoes language, symbolism and characterisation of Shakespeare’s Hamlet, whilst giving Ophelia a second life on stage through a contemporary lens. With such an endearing and likeable performer on stage as Annie Stafford, Gia Ophelia is a one-hour-treat to gift yourself this weekend.
Tickets and Practical Info for Gia Ophelia in Sydney 🎟️
Playright Grace Wilson; Director Jo Bradley; with Annie Stafford
Tickets: https://events.humanitix.com/gia-ophelia
Set Designers: Geita Goarin and Jo Bradley Lighting Designer: Holly Nesbitt; Costume Designer: Geita Goarin Sound Design: Otto Zagala; Stage Manager: Luke McGilvray; Poster Photography Patrick Phillips; Original Production Dramaturg: Jo Bradley 2025 Production Photography Robert Miniter Producers: Jo Bradley & Bianca Watkins
AWARDS: Winner of Sydney Fringe Festival Best Emerging Artist & Finalist in Best in Theatre 2025
Produced by JB Theatre Co
Runtime: 60mins
