Cinderella’s stepmother is a stereotype of cruelty we can have no sympathy for. This play-meets-cabaret explores why she is so cruel, fleshing out this one-dimensional character into a woman called Mara.

Written and composed by Paris-based Australian Hanna Pyliotis, Mara asks much of its lone dramatic performer. Versatile, energetic Aurora Kurth delivers in this production directed by Megan Jones.

Aurora Kurth in Mara. Photo © Sarah Clarke

Pyliotis’s villain origin story is interesting, even intriguing at times, exploring familial and class relationships, the influence of those who are absent, stymied self-actualisation and expectations of female compliance. Narrative complexity and psychological depth is limited, however.

The story begins with a father walking out and Mara escaping her mean mother by getting married. Her husband dies, so she must leave her two daughters behind and become the governess of a wealthy couple’s daughter. She considers Mara another mother, until circumstances change dramatically and what could be happy ever after turns sour.

Repetitions of phrases and spoken sounds give the text a poetic quality, but remind us rather too often of key themes and ideas – particularly the fact Mara and her daughters have big feet...