A series of eight stories by eight different playwrights, performed by four actors, all taking place in the same room in the Seabreeze Motel.  As one might perhaps expect, the subject matters explored within these four walls generally veer into the darker side of seediness.  Tales of abandonment, deception and betrayal, control and freedom, licentious murder, undead possession, familial cruelty, suicide, guilt, fear. 

In the first story, Blood on the Tracks by Rex Armstrong, the protagonist (Tom Kane), a writer who’s checked in for the grimy underbelly type atmosphere to bring forth his muse, comments on what sad and lonely places motel rooms invariably are.  His observation is pretty much supported throughout the remaining seven chapters.

Although each short play is independent and essentially unrelated, they are inexorably linked thru their common location. They are also theatrically linked by scorned motel proprietress June, (Marion Shortt), who’s co-proprietor husband ran off with some bimbo.  June resets the room between each guest, voicing her bitter judgements on the lives people lead and questioning the inevitability of her own place in the scheme of things.

Some of the stories read like fables, such as Laurence Dolan’s Legless, the least bleak but still quite twisted wee tale of honeymooning newlyweds stuck for the night with their paraplegic best man, all in the one room. 

Choice by Bronwyn Elsmore follows, a pedestrian account of a pregnant lesbian coming out to her stiffly conservative father, which is altogether less eventful or dynamic than most of the other works. 

Brett Simpson’s Solo Tour is also quite entertaining fare with a creepy undercurrent, concerning a has-been rock star gone solo and his enthusiastic stalker.

Other episodes are simply harsh and unforgiving parables of detestable scoundrels dealing their blows and either receiving their comeuppance or not.  For instance, in M. E. Macdonald’s The Getaway, the innocent schoolgirl is not only completely taken advantage of, she is somewhat ceremoniously dealt to once her presence and predicament becomes inconvenient. 

Likewise, Thomas Sainsbury’s Cold is stark and vicious, wherein the black sheep of a well to do family is being similarly handled and although the sadistic connotations are stronger, the outcome is quite different; both less and more tragic.

Ultimately the casting choices, under Tony Forster’s accomplished direction, are sound ones. The four cast members each play numerous characters with the required versatility, although each actor tends to similar types. As a loose, non-comprehensive guide:  Jared Turner plays the more serious and conservative roles; Tom Kane carries the zanier, slicker and/or more streetwise personalities; Marion Shortt plays the naive young things and Tracey McGuire takes the more experienced and confident female roles. 

The straightforward set designed by Rex Armstrong and Devan Jackson, perfunctory as it is, has a satisfying iconic simplicity to it.  Andrew Watts’ ‘theatre-noir’ lighting and sound designs combine to evocative effect.  There is a cozy sort of comfort in the sound of a freight train hurtling by a dark room cast in the shadow of louvre blinds. 

Overall this ‘theatre noir’ production is well mounted.  Certainly some shows have greater impact than others and a few niggly little things could increase the play’s power, not least having a gun that actually goes bang.  But at the end of the day (which is when most of the events take place) Motel Nights is an intriguing exploration of the seedy motel room as a place for collaboration and conflict; both a sanctuary and a prison. 
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