★★★★★
“To see my culture. To hear my language. To see my traditional dance on a mainstage is beyond my wildest dreams and beyond my ancestors’ wildest dreams. Telling this story has been a gift. Weaving creation stories with narratives of today are vital in understanding who I am and the culture I come from.” Playwright Isobel Morphy-Walsh (Taun Wurrung)
Gunawarra Re-Creation’s set design is splendid and is nothing short of impressive! Designed by Dan Barber, a solid-looking wooden outcrop rests upon a mirror-like, pitch-black shiny floor. Stacks of haphazardly placed reed-like metal protrusions languish in the wings.
A vast orb hovers just above the stage on which haunting charcoal animations of Waa (ancestral crow), Bunjil (wedge-tailed eagle spirit of the Kulin Nation) and Gunawarra (black swan) are intermittently projected during the performance. The captivating drawings have also been created by Barber.
Writer and Taun Wurrung/swan woman Isobel Morphy Walsh’s powerful contemporary play draws on the traditional Kulin story of Gunawarra, the black swan and how it came to have black feathers.
Interwoven with her brilliant narrative is the story of Roo (Melodie Reynolds/Wongutha, Nadju, Mirning) and Murrun (Miela Anich/Badu, Kala Lagaw Ya), estranged mother and daughter who are mourning the loss of their much-loved Aunty Aggie (Lisa Maza/Yidinji, Meriam, Dutch).
The mother and daughter duo begrudgingly return to this calming makeshift watering hole, the same one their Aunty Aggie used to visit with the two of them in tow. It is a place of healing and where they hope to reconcile the trauma of their past. It is here, through this special healing place, that they encounter the graceful Gunawarra, beautifully portrayed by Taun Wurrung woman, Hannah Morphy-Walsh.
Barber’s outstanding set design, complemented by Katie Sfetkidis’ striking lighting, is central to the unfolding of this ancestral story as it transforms the stage into a setting that feels very realistic.
The revolving platform is an innovative addition to the overall design, as is the impressive flooring. The illusion of a watering hole morphs into something more palpable, where this writer could almost feel the coolness of the water on her skin as the mother and daughter duo convincingly undertake their cleansing ritual in the still waters.
Emma Salmon (Nyikina) designed Gunawarra’s exquisite headdress, which is complemented by Barber’s flamboyant feathered removable cape. The intricate costume design enhances the mostly silent Morphy-Walsh’s animalistic, prowl-like albeit graceful movements.
Sound designer James Henry’s (a Yuwaalaraay, Gamilaraay, Yorta Yorta and Yuin man) soaring music compositions underscore the deep-seated emotions and painful memories that unfold on stage.
Sfetkidis’ superb lighting reflects the emotional depth of each scene. She has chosen a subtle approach that creates the perfect balance between intimacy and conflict.
Movement consultant Zoë Brown-Holten’s ((Th)Dunghutti and Gomeroi woman) choreography employs postures and mannerisms that evoke physicality. These movements are expertly cued by Morphy-Walsh’s credible swan-like qualities and emulated convincingly by the other cast members.
Under the eagle-eyed direction of Yorta-Yorta, Gunaikurna woman, Andrea James, the relationships between Maza (Aunty Aggie), Reynolds-Diarra (Roo) and Anich (Murrun) emanate their love for each other, underscored by their fierce protectiveness of one another.
The defiance between mother (Reynolds-Diarra) and daughter (Anich) is fierce but held steadfast by the common bond they share with their beloved aunt (Maza).
As the past and present collide, unpacking First Nations’ cultural connections and emotional bonds form the basis of the writer’s creation stories and tether the narrative of this finely crafted production.
This superb cultural storytelling of redemption cleverly blurs the lines between ancestral history and reality while invoking the tale of Gunawarra, the majestic black swan that symbolises rebirth against all odds.
Ultimately, Morphy-Walsh’s endearing production is an ode to the indomitable strength of First Nations women. It is underscored by all-round solid performances by the multi-talented cast members, thoughtful direction by James and striking visuals by Barber.
Gunawarra Re-Creation is an apt reminder of Blak women’s strength, their definitive authority, their innate wisdom. But above all, it emphasises the fact that Blak women are imbued with an extraordinary capacity to heal.
Gunawarra Re-Creation is presented by Ilbijerri Theatre Company and runs to 8 August as part of Clancestry. Cremorne Theatre, Queensland Performing Arts Centre (QPAC), South Brisbane Qld 4101.
Tickets: https://www.qpac.com.au/whats-on/2026/clancestry-gunawarra-re-creation
Website: https://www.ilbijerri.com.au/event/gunawarra-re-creation/
Socials: https://www.instagram.com/atqpac/ and https://www.instagram.com/ilbijerri_theatre/
Photo credits: Jacinta Keefe
Leave a Reply