Queensland Theatre’s latest production—Dear Son—is a stage adaptation of a book by Thomas
Mayo which features letters and reflections from First Nations fathers and sons. Mayo collected
these writings from 12 well known and influential First Nations men as well as featuring some of
his own prose and poetry, bringing together a range of perspectives that offered a celebration of
First Nations masculinity. This adaptation by Isaac Drandic (who also directed the production)
and John Harvey captured the heartfelt spirit of these writings and elevated it off the page
through story, conversation and song in a seamless and authentic way.
The packed opening night foyer of Bille Brown studio was focused on a small group of First
Nations men presenting a welcome and introduction to the show’s world premiere. The sounds
of didgeridoo and clapsticks floated down Montague Road and set the scene for the night’s
activities.
Moving into the theatre, Kevin O’Brien’s set design reinforces the idea of the Australian outback
with a shed-like structure featuring wooden posts and corrugated iron roof sitting over wooden
tables and benches, live barbeque and fire pit, full sized tree and sandy floor.
The play begins with the arrival of five actors on the stage, each in their own spot across the
front, and all in contemporary casual gear of jeans and shirts. The back of the stage features a
semicircle screen showing a range of projections throughout the production and—while well
crafted—much of the text was obscured by the posts in the set, making it difficult to read. The
opening section is powerful—a throbbing underscore (by Wil Hughes) paired with words
projected across the screen as well as the floor of the stage (by Craig Wilkinson)—each man
speaking with strength and passion in First Nation dialects before coming together in English.
We then move further into the space, the conversation free flowing as if they are mates around
the barbeque sharing their tales. From here, the scenes move effortlessly from one to the next,
all linked like a natural conversation.
The script features a variety of story telling techniques from monologues, narrative with
reenactments, conversations, songs and a scene akin to a Dreamtime story with music and First
Nations dance. The use of humour throughout the production was wonderful, allowing the
tension to ebb and flow through both comical and heart wrenching stories. Some stories were
heavily linked to significant moments in the story of the First Nations people in Australia, like the
stolen generation, but all were deeply grounded in humanity and the commonality that
transcends race and connects us all—family, love and our own identity. The play concludes
with the same opening segment, bookending the story beautifully and giving newfound meaning
to the words spoken and projected.
The ensemble cast were delightful and engaging, showcasing a real connection to their culture,
the story and their own families, sharing personal messages of hope and love for their own
families toward the end of the performance. Jimi Bani, Waangenga Blanco, Trevor Jamieson,
Kirk Page and Aaron Pedersen were all in turn sincere and hilarious, bringing a gentle strength
and warmth to some tough tales.
This production was polished, well thought out and executed and a wonderful experience. This
is not just for First Nations people, or even just men, it has something to share for all of us and
is a refreshing and positive narrative around the concept of masculinity, family and culture.
Dear Son, until July 19, Queensland Theatre, Bille Brown Theatre, West End. Book tickets here.
