I haven’t been writing theatre reviews for long, but I’ve quickly learned that when a show is great, word gets around. Taking a quick glance on the QPAC website at ticket sales for the remaining season of Trent Dalton’s Love Stories confirms that word is definitely getting around: this is a must-see production.

When people think of conversations about love, they may at first think: ugh, cheesy. But the play adaptation of Trent Dalton’s Love Stories, a world premiere work and the crown jewel of this year’s Brisbane Festival, reminds us why we head into darkened theatres at all. To feel something. To be changed by something. Whatever petty crap may be burdening you when you enter the theatre is sure to melt away after 100 minutes of catharsis with Trent Dalton’s Love Stories. You may just come out inspired to commit a radical act: writing that letter, having that tough conversation, taking that risk on a dream. You may even seek out the couple who help plan unforgettable marriage proposals, who knows?

A collection of true short stories published in 2021, the book Love Stories was conceived after Dalton was bequeathed a sky-blue Olivetti Studio 44 typewriter from a mate’s mum named Kath Kelly, who passed away on Christmas Day, 2020. To honour this remarkable woman, Dalton spent two months sitting on the edge of King George Square in Brisbane’s CBD with the typewriter, and a sign that said, “Sentimental writer collecting love stories. Do you have one to share?” Dalton has said it was the most fulfilling and inspiring journalistic endeavour of his life, and the resulting book contained 150 such stories.

I am grateful to have read the book ahead of seeing the stage adaptation, as it meant that watching the play felt like visiting old friends. Director Sam Strong has said the ensemble cast of ten play 100 characters, averaging out to a character a minute, which is a huge amount of input to absorb, and it does roll thick and fast, with no intermission to take a breath. The one-act presentation absolutely works though and adaptor Tim McGarry, along with Strong as Dramaturg and Dalton and Fiona Franzmann as co-writers have crafted a new storyline in the characters of Husband and Wife, loosely based on Dalton and Franzmann whose voices also appear in the book. The new, recurring storyline added the dramatic convention we’re used to seeing when consuming traditional stories (set up, confrontation, resolution). It was missing in the original, non-fiction book but has been successfully threaded throughout the play, with compelling performances by Jason Klarwein as Husband and Michala Banas as Wife.

Another new device was to turn one of the book characters into the narrator, in the form of Jean-Benoit, a Rwandan who survived being abandoned under a tree as a baby and is travelling the world, making his living as a busker. Rashidi Edward was wonderful as Jean-Benoit, acting almost like a lively spirit guide who ushered the audience into and out of the play.

Photo by Craig Wilkinson

The use of a live video camera on stage, operated by Tnee Dyer with designs by Craig Wilkinson, projected certain segments up onto the back screen and was an excellent device as it enabled us to get up close and personal at certain points of the story. We were able to see the tears glistening in Bryan Probets’ eyes as he spoke, and watch the raw emotion pour out of Jeanette Cronin as she portrayed a woman contemplating taking the photos of her late husband off the fridge.

Photo by David Kelly

Choreography and movement direction by Nerida Matthaei added an almost physical theatre / contemporary dance element to the storytelling and was mesmerically performed by Jacob Watton and Hsin-Ju Ely.

There were much-needed moments of humour throughout the play which acted as a soothing balm, but the emotional impact of these true stories was hugely felt thanks to the authentic performances by the ensemble. Jason Klarwein’s monologue, based on Dalton’s piece from the book discussing how his Dad was not much of a hugger, was utterly gut-wrenching. I was grateful to have attended the matinee as I needed sunglasses just to get through the foyer and I smiled when I saw that I was not the only one.

Standing ovations have come to feel a bit de rigueur in the theatre, but Love Stories was the one instance where I genuinely wanted and needed to get on my feet to show my appreciation. There is something so refreshing about authenticity, and Love Stories is the real deal.

Trent Dalton’s Love Stories is presented by QPAC and Brisbane Festival and runs until 29th September at The Playhouse, QPAC before it embarks on a tour up north. The link to whatever tickets remain for the Brisbane season can be found here.

(I also recommend spending some time reading the original book, available through our city’s fabulous library network.)

Brisbane Festival: https://www.brisbanefestival.com.au/whats-on/2024/love-stories

QPAC: https://www.qpac.com.au/whats-on/2024/bf-love-stories

Photo credit: Hero image featuring Jason Klarwein taken by David Kelly, designed by Enzo Baldacci