The world premiere of Wanderings is the year’s third, beautiful inclusion of Queensland Theatre’s inaugural DOOR3 program. An initiative designed to platform independent theatre, Wanderings, created by The Nest Ensemble, intertwines fiction and autobiography to delve into the complexities of family, identity, and memory.
Directed by Leah Mercer, with Margi Brown Ash as Stella and Zac Callaghan as Kidd, Wanderings explores the tender yet challenging relationship between a mother succumbing to dementia and her transgender son. Using a winning combination of humour, vulnerability, and raw honesty, Wanderings addresses the universal themes of transition and connection. It is a beautifully written script, and I eagerly await a time when a published version becomes available to read and revisit.
Kidd, a landscaper by trade, is faced with the emotional challenge of single-handedly packing up the family home while preparing to transition Stella into a smaller place. Their shared moments of packing and unpacking reveal the emotional weight of both past and present transitions. Born Jessie Joy, or JJ for short, we learn of Kidd’s twin sister Erin, now living in Sydney, a deeply religious woman who has chosen to distance herself from the family.
As Kidd methodically dismantles the set, designed by Rozina Suliman, Stella’s memory starts to fade, and it’s clear that plans need to be re-evaluated. The family home’s kaleidoscopic backdrop of soft rainbow patchwork and fairy lights gives way to the plain beige walls of the care home, Stella’s final destination. The symbolism is striking, and the gradual loss of the family’s physical and emotional anchors is heartbreaking to witness.
Yet, humour imbues the narrative. A standout moment occurs when Stella accidentally discovers Kidd’s STP (stand-to-pee) packer. This blend of tenderness and levity reflects the creative team’s ability to tackle difficult topics with sensitivity and humanity. As Stella continues to deadname Kidd, a painful but authentic portrayal of her declining cognition, her memory and identity slip away, creating a space for Kidd’s resilience and self-acceptance to shine.
Margi Brown Ash and Zac Callaghan gave sensitive and fearless performances as mother and son, and I am sure many audience members will be moved to call their mothers after the show. The creative team’s thoughtful attention to detail, from Freddy Komp’s clever projections supporting the neon post-it note motif, to the soundscapes crafted by The Joy Dispensary, beautifully underscore the delicate interplay of humour and heartbreak.
Wanderings shines as a testament to the power of storytelling, urging audiences to embrace conversations around the often misunderstood experiences of LGBTQIA+ and ageing communities. Wanderings is a play that both challenges and comforts, championing empathy, courage, and the enduring strength of familial bonds. I recommend carving out some time away from the end-of-year craziness to catch this before the season ends.
A version of this review was published by Theatre Matters on 2 December 2024.
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