Having recently interviewed Isaac Drandic, the director and co-adaptor of Dear Son, I was confident that this page-to-stage production’s world premiere was going to be a powerful theatrical experience. What I didn’t realise, until I attended its opening night at Queensland Theatre’s Billie Brown Theatre this week, was just how powerful the experience would be.
Along with fellow co-adaptor John Harvey, Drandic has engineered a production that adeptly combines physical comedy and humorous dialogue with musical interludes, socio-political commentary and a range of thought-provoking and touching sequences. The multiple characters in the play are skilfully and affectingly performed by a stellar cast of First Nations actors. They include Jimi Bani, Trevor Jamieson, Kirk Page, Aaron Pedersen and Waangenga Blanco, who is also the production’s choreography and movement director.
Dear Son is based on the book by Thomas Mayo, who also attended the sold-out opening night with his family. First published in 2021, the book is an anthology featuring a collection of letters written by 12 prominent First Nations men to their sons, fathers or nephews. The letters share the writers’ personal experiences and thoughts on the concepts of masculinity and fatherhood, particularly in Australia. They also share their reflections on Indigenous cultural heritage, racial injustice in Australia and their hopes for the future.
The production sets the play in a ‘cookhouse,’ a remote meeting place somewhere in Australia where an Indigenous men’s group has come to meet, eat and talk. Within this theatrical device framing the storyline, the actors recite excerpts from the letters from the book, doing so in character as the letter writers. They also perform as other characters in various scenarios described in the letters.
The sound effects and backing music used in the play are appropriately evocative throughout. They combine with well-chosen and well-timed lighting changes to effectively convey changes in mood, atmosphere, location and time period. Lighting designer David Walters and composer and sound designer Will Hughes deserve plaudits for their excellent work here, as does set designer Kevin O’Brien for the earthy and solidly constructed set that simulates the cookhouse.
The set includes wooden benches and chairs that are well-utilised in various sequences throughout the play. It also includes a centrally situated wooden shed with a corrugated iron tin roof and a constantly burning fire in a small circular incinerator near the front of the stage.
The play has numerous sequences that use inventive staging, many of which incorporate the physical comedy skills of the actors. One involves three characters simulating the motion and reverberations of a V8 engine-powered car. Another involves two characters peddling furiously on stationary bikes to simulate cycling through the Australian outback. They do so in front of a video backdrop showing footage of rapid movement through a desert landscape.
There’s also astute socio-political commentary throughout the play. A particularly incisive example involves a reference to the groundbreaking Mabo case, the 1992 High Court decision recognising native title in Australia. During this sequence, a character comments that in the aftermath of the Mabo decision in Australia, “white people were scared we were going to come and take their land.” “Yeah, I wonder how that feels,” another character replies drily, not missing a beat.
Waangenga Blanco delivers a committed, energetic and thoroughly engaging performance that’s heartwarming and heart-wrenching in equal parts. He’s also done a fantastic job coordinating the movement of the actors. Passages of grounded stillness are expertly juxtaposed alongside intricately choreographed action and comedy sequences. The actors convincingly switch between different characters with subtle amendments to their physicality and movement.
As an aside, the actors are also assisted in switching between characters by clever costume choices. Costume designer Delvene Cockatoo-Collins should be commended for her work. These include simple but effective – and often hilarious – costume additions. Spectacles, a beanie, a suit jacket and even a bright pink dressing gown are all featured.
Trevor Jamieson provides a calm confidence during his own dramatic moments and keen attentiveness during those of other characters. He also delivers a masterclass in comic timing and physical comedy, playing an integral part in many of the play’s funniest sequences.
A particular highlight occurs when he dons the previously mentioned dressing gown to play a homeowner startled by other characters unexpectedly entering the house in a laugh-out-loud case of mistaken residence. In addition, Jamieson sings and plays guitar during enjoyable musical interludes, which also include backing vocals with beautiful harmonies from Kirk Page.
Page brings an expertly judged blend of comedy and vulnerability to his performance. A memorable comedy sequence involves his playing a perplexed beanie-clad football ground attendant confronted by a character who’s cheekily attempting to use the Mabo decision to justify free entry to a game. As for his portrayal of vulnerability, an especially touching sequence involves his character being terrified to disclose a secret about himself to his son, who turns out to be far more accepting of the information than expected.
Aaron Pedersen’s performance involves strapping both himself and the audience in for a rollercoaster ride of emotions. He moves seamlessly from engaging in entertaining banter to conveying deeply ingrained sadness and gut-wrenching regret for some of his character’s life choices. Pedersen also convincingly demonstrates utterly justified anger about personally experienced racist incidents. He accompanies this with a mission statement that deserves broader implementation in the creative industries. “I’m an artist – I fight racism with creative expression.”
Last, but by no means least, Jimi Bani is a tremendously charming and hugely watchable presence onstage. From the moment he first appears to coordinate both construction and cooking at the cookhouse, he powerfully conveys both innate authority and fundamental decency at all times. That’s whether he’s delivering witty retorts or offering reflections that are painfully poignant. As a result, Bani consistently anchors the play in an unwavering commitment to truth and a rock-solid sense of right and wrong.
At its core, Dear Son contains a heartfelt hope for a better future for everyone, both Indigenous and non-Indigenous. In this respect, a particularly uplifting and empowering line of dialogue is delivered at both the beginning and the end of the play. “With the strength of our ancestors, our words are like stars on a moonless night.“
And that line is absolutely true. With the strength of their ancestors and their own creative and personal strength, the amazing cast and crew of Dear Son have created an immensely compelling, thought-provoking and emotionally affecting piece of theatre. One that will beautifully and brightly illuminate any night, moonless or otherwise.
Queensland Theatre’s Dear Son runs until 19 July at the Bille Brown Theatre, 78 Montague Road South Brisbane 4101.
Tickets are available here.
Website: https://queenslandtheatre.com.au/
Socials: https://www.instagram.com/qld_theatre/
Photo credits: David Kelly
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One response to “Review: Dear Son Glows With Echoes Of Love And Legacy”
Best performance if 2025. From the heart, it will make you laugh and cry as you examine the bond between father, son, country and home. Cast were amazing and they made you feel every word they cast. Highly recommend.