Last night I dreamt I went to Manderley again
Long before it haunted the stage in Melbourne, Rebecca had already secured its place as a legendary ghost story. Daphne du Maurier’s 1938 Gothic novel—with its nameless narrator, the enigmatic Maxim de Winter, and the chillingly devoted Mrs Danvers—enthralled readers with a sly blend of suspense and literary finesse. Alfred Hitchcock’s 1940 film adaptation etched the tale into cinematic history, but Rebecca has never stood still. It has shapeshifted from opera and musical theatre to streaming service, most recently a movie on Netflix, and now Rebecca arrives in a new incarnation.
Rebecca examines how the past can resurface and haunt the present. The story centres on a young woman who marries a brooding widower and arrives at his grand estate, Manderley. Only to find herself haunted by the lingering presence of her husband’s first wife, Rebecca, and she is tormented by the obsessive housekeeper, Mrs Danvers, who remains loyal to Rebecca’s legacy.
Melbourne Theatre Company’s artistic director Anne-Louise Sarks reunites with designer Marg Horwell to reimagine Manderley and bring Rebecca back to life. The performances are strong. Nikki Shiels is a compelling lead, and Pamela Rabe’s Mrs Danvers is suitably terrifying and magnetic, but it’s her turn as Mrs Van Hopper early in the production, a self indulgent rich socialite, that really shines. Stepping into the role of Maxim, part leading man and part villain, is Stephen Phillips. Also in the cast is Toby Truslove. The men do well in their roles but have little of interest to do or say in this adaptation.
The minimalist set by Horwell initially feels too bare, it deepens as the story unfolds. The use of the revolve in the second half and Paul Jackson’s lighting design add atmosphere, shadows and psychological tension with each turn. But what lets this production down is Anne-Louise Sarks’ adaptation, the decision to explain Rebecca’s death and Maxim’s court case through a series of dreamlike sequences is a misstep. It’s a jarring shift that breaks from the mood so carefully built. There are flashes of visual brilliance—the burning of Manderley is one, a gigantic oval mirror descending is another—but they’re not enough to redeem the muddled second half of the script .
It’s frustrating, because there’s a lot to admire: the performances, direction, the sheer ambition of tackling such a beloved story. But the emotional payoff feels diluted, lost in abstraction.
Rebecca’s death and the courtroom arc might have landed harder with a commanding monologue—think Tennessee Williams’ Suddenly Last Summer—perhaps delivered by Maxim, earning his place both on stage and in the story. The adaptation’s choices are a bold swing, but whether fans of Rebecca leave truly satisfied is still up for grabs.
Revisiting Rebecca by Daphne du Maurier is a brilliant idea, but it’s also a gamble—especially with Hitchcock’s film still lingering, sixty years later, in our collective imagination. Every version of Rebecca invites comparison, yet each return to Manderley feels different, shaped as much by what we remember as by what we forget. This latest reincarnation is flawed, yes—but a solid cast lends it dignity, even as the shadows of past adaptations loom.
CAST
Maxim Stephen Phillips
Mrs Van Hopper/Mrs Danvers/Beatrice Pamela Rabe
Woman Nikki Shiels
Frank/Jack Toby Truslove
TEAM
Director Anne-Louise Sarks
Set & Costume Designer Marg Horwell
Lighting Designer Paul Jackson
Co-Composer & Sound Designer Grace Ferguson
Co-Composer & Sound Designer Joe Paradise Lui
More Info: https://linktr.ee/noelanderson
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