A man searching for his severed hand. Two con artists tangled in his scheme. Violence, absurdity, and uneasy laughter at every turn – this is the strange, darkly comic world of Martin McDonagh’s A Behanding in Spokane. At its centre is Marilyn, a bold and unpredictable grifter who, alongside her boyfriend Toby, becomes ensnared in our protagonist's decades-long obsession.
It’s into Marilyn’s chaotic skin that actor Cynthia Taylu now steps, returning to her theatre roots in the upcoming Sydney production. For her, embodying Marilyn is both a challenge and a homecoming: a chance to explore the raw immediacy of live theatre while stretching her craft through a character as unapologetic as she is unpredictable.
We spoke to Taylu ahead of the show to get her thoughts on acting, bonding and how she's prepared for her theatrical re-entry.
What inspired you to want to step into the theatre world?
My love for acting started in high school through theatre – I was a total theatre nerd. From the moment I started, I auditioned for our school musical, which happened to be Elvis (fast forward to after high school, I ended up working on Elvis the movie directed by Baz Luhrmann – a real full-circle moment). My school was unique in that it had a strong drama program led by a teacher we called “Ms B.” Her passion for drama meant we had access to incredible training and facilities.
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I grew up doing physical theatre with groups like Zen Zen Zo and participating in Creative Generation, a government-supported program where, for a week, students from across Queensland received intensive drama training. School plays were also a must every year, so being on stage was just part of my life.
I had a short stint with theatre in university, but film and TV became my main focus. When the opportunity to work on A Behanding in Spokane came along, it felt like my childhood calling me back. I’ve always had so much respect for theatre actors; it’s such a different world compared to film and TV. Over the years, I’ve been lucky enough to see theatre shows that reignited my passion for performing. This play felt like a chance to push myself, become a better performer, and return to the beginning, to the thing that first made me want to act.
"When the opportunity to work on A Behanding in Spokane came along, it felt like my childhood calling me back. I’ve always had so much respect for theatre actors; it’s such a different world compared to film and TV."
What did you find most intriguing about playing Marilyn when you first read the script?
When I first auditioned, I didn’t have access to the full play. But after being offered the role, I dived straight in. I’ll never forget being up at 1am, midway through reading, when I suddenly looked up from my laptop. There was this raw thrill in my stomach, and I actually shouted out loud.
Marilyn was (and is) everything I’ve always wanted to be. I’ve often wondered, as someone a little more reserved, why I chose acting. But reading Marilyn made it click: it’s about being able to say the things we all wish we could say in everyday life but often don’t, because of societal pressures.
She’s nurturing and smooth but also flawed and sometimes out of the loop. She hasn’t made the best life decisions and finds herself in a dangerous situation but she never waits for permission to speak. She’s unapologetically herself: take it or leave it. At first glance, people might underestimate her, but she’s a fighter who knows exactly how to work things in her favour.
How would you describe the play in three words to someone who’s never seen it?
Bold. Confronting. Ridiculous.
"I’ve often wondered, as someone a little more reserved, why I chose acting. But reading Marilyn made it click: it’s about being able to say the things we all wish we could say in everyday life but often don’t, because of societal pressures."
What was involved in your research and preparation for the role?
The biggest part was closing the gap between myself and Marilyn, especially in how we approach life. I’m softer spoken, and I’ll often hold back from saying harsh truths so as not to hurt feelings. Marilyn, on the other hand, doesn’t shy away from that.
That said, our ethos is the same: we both believe in equality and that everyone deserves respect. It’s just that Marilyn expresses it more directly. So, for the first few weeks, I simply sat with her. I wrote journal entries as Marilyn, fleshing out her dreams, her relationships (especially with her boyfriend Toby. They have this Bonnie and Clyde dynamic), and how she saw the world.
I researched Spokane, where the play is set, to picture her upbringing. It reminded me of my own childhood in Queensland, so I even took a trip back to Brisbane to reconnect with that feeling of “never having left your hometown.”
I also immersed myself in American media, particularly reality TV, to capture Marilyn’s way of speaking and her unapologetic presence. I started practicing “taking up more space” in my day-to-day life, whether it was asking the awkward question, standing my ground in small moments, or just letting my voice carry.
On a practical level, I made a playlist for her, which I listen to on the way to rehearsals, and worked with the director and costume team to shape Marilyn’s wardrobe. For me, costume is huge. It completely changes how I move and carry myself.
"[Spokane] reminded me of my own childhood in Queensland, so I even took a trip back to Brisbane to reconnect with that feeling of “never having left your hometown."
What does a typical rehearsal day involve?
If rehearsals start later, I begin my mornings with grounding rituals, journaling to let Marilyn’s voice come through me, meditating, or doing a shaking exercise to release tension.
Then I’ll get ready, shower, and look over my notes from the previous day to make sure I’m on top of everything. Rehearsals usually run for six hours. We’ll jump straight into scenes, sometimes focusing on specific moments or diving into character backstories. Somewhere in between we break for lunch, and by the end of the day, I’m usually pretty knackered.
If I have the energy, I’ll go to the gym, because moving my body has been a huge support during this process. During the week, I tend not to see friends so I can stay focused, but from Thursday nights onwards I try to let myself socialise a bit. Keeping balance is important the more
I fill my own cup, the more I can give to Marilyn and the production.
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What are some of your rehearsal essentials that you always carry with you?
I carry a disposable camera to document the process it’s a nice keepsake. I also have a little bag full of lip glosses and liners. Marilyn feels like someone who’s into her makeup routine, and even though I don’t wear makeup in rehearsals, putting on a lip makes me feel more connected to her.
Other than that: my script, a notebook (and random bits of paper for scribbled notes), my keys, and my wallet.
What’s it been like bonding with the rest of the cast and crew?
It’s been so lovely. Out of the main ensemble of four, I’m the only female, and while I had no hesitations about that, the guys have been nothing but warm and welcoming. I’m constantly in awe of their talent and inspired by their work.
Our director, Kai Paynter, has been incredible. She’s so full of life, so specific in her vision, and she creates such a safe, kind, and patient space for us as actors which is especially important with a play that tackles heavy issues. Her ability to balance earnestness with delicacy has been inspiring, and I’ve learned so much from her.
"I begin my mornings with grounding rituals, journaling to let Marilyn’s voice come through me, meditating, or doing a shaking exercise to release tension."
Do you see any parts of yourself in Marilyn, or is she completely different from you?
I see a lot of myself in her. We’re both dreamers with an unspoken fire to keep going. We’re fighters at our core. My family and I came from humble beginnings, and everything I have now has come from a deep self-belief, even when the road wasn’t clear.
At her heart, Marilyn is love and I’ve always connected with that same deep desire to love freely and protect the people closest to me.
What’s the best piece of advice you’ve received about acting?
To keep going, and to get yourself out of the way. Acting pushes, me to dig deep, to look at who I am, the roles I play in life, and to strip those back. By continuing to learn about myself and leaning into this dream, I’ve not only grown as an actor but also built a fuller, richer life.
A Behanding in Spokane will play at Schell Medical in Camperdown from 8–12 October 2025. Tickets available now via Humanitix.
