In Conversation with Rachel McMurray – Shadow of Doubt
On the very first In Conversation, we shine a light on Shadow of Doubt—a new play by Rachel McMurray, premiering at The Blue Room Theatre from 15 April to 3 May 2025. Set in the hills of Kalamunda, the story follows David and Heather Andrews, a couple whose seemingly perfect life begins to unravel when they find themselves in the witness box. With tension, suspense, and striking theatricality, Shadow of Doubt explores the blurred lines between truth, perception, and the secrets we keep. We caught up with Rachel to dive into the creative process behind the work and what audiences can expect from this thrilling new production.
What motivated you to apply to be part of The Blue Room Theatre’s 2025 season, and what drew you to this project?
Since moving to Boorloo in late 2022, I’ve been a regular attendee at The Blue Room Theatre, always enjoying the vast variety of productions available. I’ve attended a few meetings about The Blue Room Seasons and was drawn to the opportunity to produce an independent show, which was given invaluable support from a venue, alongside a solid 3-week season to run. Recognising that there aren’t many opportunities like this around, I knew I had to apply.
How has the creative journey been so far—from concept development to rehearsals?
The first draft of this script came to fruition by me sitting in a Dome café for three days straight. I had been mulling over the concept of the work for a few months and knew what I wanted the piece to say and explore. But the story wasn’t formed. Knowing that I’m someone who writes best under pressure, I took three days off work and found a booth in Dome and just wrote.
Although there have been edits since, the essence of the piece is very much still in line with that first draft, and many of the scenes you will see in Heather and David’s life together are from those days in Dome.
Not long after drafting the play, I was contacted by a friend who mentioned WAAPA was doing an Australian Play Season with their Advanced Diploma students and asked that I send the script through. Shortly after, I was fortunate enough to be asked to stage a Creative Development of the work at WAAPA. This time exploring the play with the students was invaluable, and having the opportunity to stage a development of the work for an audience showed me that the work had legs and where the script could be developed. It was then that I applied for The Blue Room Season and funding to support the work.
And the rest, as they say, is history. I was incredibly fortunate and humbled to be programmed at The Blue Room Theatre and receive funding from The Department of Local Government, Sport and Cultural Industries, neither of which I take for granted, knowing how incredibly competitive both are.
And I can honestly say the creative journey in the rehearsal process of this show for the 2025 Season has been a dream. It has been a room full of brilliant, creative people who care about this work and who want to collaborate to achieve the best we can – and I could not be more grateful for that!
What has stood out to you during the rehearsal process—any unexpected discoveries or moments of growth?
Being both writer and director on a work can be challenging. It puts a lot of pressure on your shoulders but also challenges you to wear both hats without either being a detriment to the other. Having done this before, however, and having learnt lessons from this, I felt like I went into this process with a better understanding of the balance. I ended up scheduling rehearsals to start part-time before moving to full-time. I then permitted myself to still be a ‘writer’ in the part-time weeks, before forcing myself to move into ‘director’ only when we reached full-time. It was an important moment of growth for me, discovering a formula that I feel worked best for me – giving myself space to exist as both for a little while, but then drawing a line and focusing on the artistic vision and execution of the work as a whole.
How has the collaboration with your cast, crew, and creatives shaped the work and your vision for it?
The saying that ‘it takes a village’ could not be truer in this show. From the very beginning, I’ve felt beyond honoured to be surrounded by an extraordinary team – each person bringing not only immense talent and dedication but also a deep generosity of spirit and shared belief in the work. It’s one thing to have a vision as a writer & director, but it’s something else entirely to watch that vision grow and evolve through genuine collaboration.
Every member of the creative team brought their artistry and insight, and what made this process so special was how open everyone was to conversation, to experimentation and to building something together rather than in silos.
The cast, too, were essential co-creators in shaping the emotional world of the play. Their trust in the process – and me – allowed for a space for vulnerability, courage, and play, which is something I deeply cherish.
Having a community partner like Starick has been very special. Leanne, the CEO of Starick, is an inspirational leader who has been so supportive and provided her guidance as an expert in her field.
I must also highlight the work and support of so many people not directly in the team who went above and beyond to support this work. From mentors offering advice, people supporting with marketing, and people volunteering their time, I am beyond humbled by the generosity and support of the Boorloo community and feel very lucky to make this work here!
As you move closer to opening, what are you most excited—or even nervous—about sharing with audiences?
A huge amount of time, blood, sweat and tears has gone into this show – it truly is a labour of love, so I’m both excited and very nervous to share it with audiences. It is my first play in WA that I’ve both written and directed, and under the Fine Comb Theatre name, which naturally comes with its own set of nerves. There’s always that flicker of fear that comes with putting something out into the world – hoping it lands, hoping it resonates, hoping that what we’ve made speaks to people the way we intended.
But more than anything, I’m excited for the moment when the lights go down, the story begins, the energy shifts, and the audience enters the world we’ve built. I can’t wait to see how people respond, feel, and reflect as they experience the piece for themselves.
Image by Alexander Franklin