The show opened in darkness. A loud bang echoed through the space, and the floor rumbled beneath the audience. From the very beginning, tension gripped the room.
Written by playwright Melissa Reeves and directed by Margaret Thanos, Furious Mattress transports audiences to 1993, when a horrific backyard exorcism led to tragedy.
Beyond the supernatural horror, the play serves as a disturbing commentary on the blind faith placed in so-called healers. It raises unsettling questions: under the guise of “doing good,” what horrors is the human spirit capable of? The story draws a chilling connection between religious fanaticism and domestic violence, blending real-life tragedy with the tropes of the horror genre.
Else’s husband believes she is possessed by the devil but is Else truly possessed, or is this simply a woman in crisis, tragically misdiagnosed by those around her? The horror lies in the reality behind the story. A real woman from rural Victoria was tortured to death by her husband and a group of religious “healers” who believed they were purging her of multiple demons.
Alex Malone (as neighbour Anna) and Julian Garner (as Else’s husband, Pierce) excelled, their voices trembling with desperation. Malone, in particular, brought depth to Anna, skillfully navigating rapid shifts in emotion while maintaining a controlled exterior, revealing the character’s inner turmoil through subtle restraint.
Matilda Ridgway (as Else) delivered a nuanced performance, shifting seamlessly from terror to cunning to rage. At times, she wore a smug, mischievous smile, making her character even more unpredictable.
While the first act was riveting, the second act felt overt and over-the-top. Sometimes, truth is stranger than fiction, and the show may have been stronger had it committed fully to the real-life story that inspired it.
In the second act we are introduced to a new character, Max (Shan-Ree Tan), an ex-plumber turned exorcist, who arrives armed with a toolbox filled with thank-you letters from past clients — including one from his own mother. At this point, one would expect Pierce to question Max’s credentials, but instead, he places his trust in a clear charlatan.
Fear is often most powerful when left to the imagination. Once the “monster” is revealed, the tension can unravel, and for me, that’s exactly what happened in the second act. This portion of the play flashes back to the events leading up to Else’s bedridden state, depicting graphic violence that is both intense and difficult to watch. The lingering question — was Else truly possessed? — could have made the narrative stronger had the ambiguity been preserved. Instead, the introduction of a costumed demon felt unnecessary, tipping the horror into absurdity.
Set designer Angelina Daniel’s attention to period details was impressive. Props like a dial-up house phone and a clunky mobile brick grounded the piece in its era. Her debut solo set design was both intricate and effective: an open bedroom with a woman lying motionless on the bed, plastic-wrapped door frames, scattered possessions, and a blood-stained sheet foreshadowed the horror to come.
As compelling as the cast were, the stars of Furious Mattress were the creatives. Sound designer Cameron Smith, composer Daniel Hertern, and lighting designer Ryan McDonald masterfully built an atmosphere of fear and suspense. The audience was plunged into darkness multiple times, each moment creating nail-biting anticipation. The entire theatre shook. Sound effects of heavy breathing and the ominous buzz of flies, created an immersive, unnerving experience.
The play also engaged magic coordinator Harry Milas who expertly manipulated the audience’s perception, creating eerie poltergeist effects that added to the supernatural tension.
Despite its darkness, Furious Mattress cleverly breaks tension with moments of comedic relief. But make no mistake — this is not a play for children. It features simulated sex scenes, nudity, violence, and is genuinely frightening.
Furious Mattress is a quirky, bizarre, and, at times, disturbing production. But it’s also a gripping, thought-provoking, and surprisingly entertaining ride.
3.5 stars.
The play takes place in Belvoir’s Downstairs Theatre 25A, an independent theatre for emerging and independent artists.
Furious Mattress is playing at Belvoir Theatre until 29 March 2025.
For tickets visit Belvoir
Looking for a pre-show bite? Regina La Pizzeria and Foreign Return are located close by. For more suggestions, check out Bites & Sips.
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