It is not often that I get the opportunity to experience a brand-new body of work at the theatre. Thankfully, the Melbourne Theatre Company is here to bring new works to audiences and the latest production titled Shoelace Chaser might just be the best one yet!
Written by Madelaine Nunn and directed by Liv Satchell, Shoelace Chaser follows the story of a young athlete named Thea (Leigh Lule) and her struggles between her obligations at home and the lure of chasing her dreams of a scholarship, a professional career as a runner and even the potential for Olympic selection.
Hosted at the Southbank Theatre, Lawler, the stage and set appeared to be a hybrid mix of athletics track, sweeping around the front of the stage. In the background, there’s a green living room complete with cosy couch, coffee table and a lamp providing a warm and inviting vibe. To the left of stage, a series of boxes, a shopping bag and a gym bag with a phone and headphones that are laid next to it.
The 65-minute play starts with a blacked-out stage when suddenly our young runner, Thea, is illuminated by two spotlights, drawing your gaze as she prepares to hit the running track. As she sets off, the scene changes and we’re introduced to our second character, Syd (Elliot Wood), with a playful exchange as Syd tries to grab Thea’s attention and introduces himself.
As their introduction wraps up, our third and final character slowly enters the living room in the background. Thea’s mother, Fiona (Zoe Boesen), appears laboured in her movement. It is evident that Fiona is either recovering from an injury or has an underlying condition that is impeding her movements. It is when Thea requests for an update on a funding review that is becomes clear Fiona has a chronic health condition and the funding in discussion is likely the NDIS that is meant to support the pair as they tackle their day to day lives.
The narrative quickly gathers momentum as Thea is thrust into a seemingly impossible decision. Does she ride with Syd as they chase their dreams of Athletic success and scholarships? Or does she choose to stay home and continue as a carer for her beloved mother and support the revival of her mother’s florist business? It is a choice that nobody should have to make, let alone a teenager in her final years of high school.
There is so much depth to this play that it is hard to believe Shoelace Chaser is only an hour and five minutes long. The topic is unlike anything I have seen on stage before and I was utterly blown away by how hard the story hits. Most people think of carers as just adults looking after the elderly or looking after their children with a disability or chronic illness. However, young carers can and do fly under the radar where most go unnoticed. Some may even believe what they do on the day to day is normal for them because that’s all they have ever known. Yet, they are technically carers that deserve the support and recognition like everyone else.
And that is what Shoelace Chaser does so damn well, highlighting the enormity of struggles that young carers face daily, as they simultaneously try to build their own lives. Thea has the greatest opportunity to gain a scholarship due to her incredible athletic ability, yet she contemplates throwing it all away for the sake of the only family she has. That choice is damn heartbreaking and Madeline Nunn’s writing brings the weight of this decision down hard on the Melbourne audience.
The set and costume design from Bianca Pardo is as impactful as the narrative. Whilst simple in design, the complexity in what it represents is incredible. Both the running track and living room are ever present in every scene. Whether Thea is training at the track with Syd or preparing flowers with her mother in the living room, each part of her life is always in the background. Even the decision to keep the actors on stage as they quick change into a different outfit between scenes represents the frantic and stressful nature of Thea’s daily life trying to juggle everything.
The lighting design from Thomas Roach expertly transitions between the two active scenes of track to living room. The difference in colour tones represents the warm and loving vibe of home to the bright and impactful feel of the running track. Linked with the sound design by Tom Backhaus, there are the calming sounds of wind chimes at home, whist at the track there are the jarring sound of the training whistle and starting pistol. There is however some comic relief in the sound, with some cleverly placed and humorous public announcements during the Athletics scenes, the humour marrying with the more emotional scenes seamlessly.
Performance wise, I cannot praise all three of these actors highly enough. They each take such care and responsibility with bringing this incredible body of work to life.
Zoe Boesen as Thea’s mother, Fiona, is loving, caring and seemingly not afraid of what the future holds. Even with her own struggles, she still strives to put her daughter first and Boesen’s portrayal is heart-warming. I also couldn’t help but feel empathic towards the character’s heartbreak as she and Thea fight the bureaucrats regarding their funding. A topic that is more relevant today with the recent funding cuts to the NDIS.
Elliot Wood’s portrayal of Syd is wonderful. They bring a much-needed comedy vibe to the otherwise serious body of work. Right from the start, Wood is full of energy, literally jumping around as Syd converses with Thea. Their body language is restless and hyperactive, and their tone is one of hope for the future, keen to take on the world as Syd strives for success. A somewhat polar opposite to their counterpart and a representation of what life might be like, if Thea only had her own future to worry about. Wood’s representation of Syd’s support of Thea is what everyone could hope for in a best friend. A truly impressive performance.
Then we have Leigh Lule as Thea, and wow, what a performance! From the start, Lule gives of a sort of care-free vibe, but it is all a clever disguise because Thea has plenty to care about and care for. Lule’s authoritative tone when discussing the funding follow-ups with her character’s mother gives the audience the idea that Thea is the one that looks after everything. Yet, when Thea is with Syd are running on the track, Lule’s performance gives a feel that this is where Thea should be.
However, as the play enters its final stages, the speed picks up and so does Lule’s performance. Leigh Lule is quite literally managing multiple responsibilities towards the end and the stress on her face had me squirming with anxiety from my seat. All in all, Leigh Lule’s portrayal of a young carer, struggling with the choice of her own future, was an incredible sight to see.
Oh, and not to forget, Elliot Wood and Leigh Lule are quite literally running around on stage during their athletic scenes, conducting warm up drills and short sprints, and both need to be applauded for the physicality that they bring to their roles.
Shoelace Chaser would have to be one of the most profound plays I have ever seen. The writing from Madeline Nunn to the direction from Liv Satchel each bring out so much depth and emotion from the entire production in such a short amount of time. Shoelace Chaser by no means feels like a short play though and I have no idea how the team pulled it off.
Amazing performance and creative work aside, the story that Madeline Nunn has to tell with this play is something our country has been needing for a very long time. The timing couldn’t be more important with the recent changes and cuts to the NDIS. Young carers specifically, desperately need the financial support for their loved ones. The support means they don’t have to work a job, juggle studies and care all at the same time. If anything, young carers deserve scholarships irrespective of their athletic or academic aptitude. Just think of the emotional stress that would be lifted if their education was taken care of.
There are so many incredible stories to tell through the conduit of theatre, and I am deeply thankful that the Melbourne Theatre Company has produced this work by Madeline Nunn because Shoelace Chaser is probably the best play I will see this year.
Young carers deserve more support and Shoelace Chaser is the perfect creative work to fight that fight. Shoelace Chaser really is a phenomenal piece of theatre.
Shoelace Chaser is performing now at Southbank Theatre, Lawler until the 27th of May. It is also touring, heading to Bendigo, Wodonga, Nunawading, Portland and Drysdale.
For more information, touring dates and ticketing, please visit:
https://www.mtc.com.au/plays-and-tickets/whats-on/season-2026/shoelace-chaser
https://www.mtc.com.au/education/productions-for-schools/shoelace-chaser-on-tour
Photography by Jacinta Keefe.
