The world can always use more representations of healthy masculine vulnerability.
When Thomas Mayo set out to uncover Aboriginal and Torres Strait Islander stories and the dynamics and intricacies shared between fathers and sons, he could hardly have known the emotional depths that his work would stir.
Mayo invited 12 renowned Aboriginal and Torres Strait Islander men, including Stan Grant, Troy Cassar-Daley and John Liddle, to write a letter either to their father or son for the book which changes all who read it. The powerful collection resonated so strongly that Isaac Drandic ('37', 'Dear Brother'), aided by writer John Harvey ('Spear', 'Black Ties'), took on the task of turning it to stage, adding music, dance and a myriad of live effects, turning ripples of emotion into tsunamis.
After hit seasons in Brisbane and Adelaide, the show has appropriately taken up residence in the iconic Belvoir St Theatre, which has its own fascinating history, as part of the Sydney Festival. This iteration sees Jimi Bani ('My Name Is Jimi', 'Peter Pan'), Waangenga Blanco ('37', 'Patyegarang'), Kirk Page ('Black Diggers', 'Redfern Now'), Aaron Pedersen ('Dead Heart', 'Mystery Road') and Tibian Wyles ('37', 'Black Diggers') assume various roles as fathers, sons, grandparents and uncles, weaving through the play’s acts as tension ebbs and flows.
Kevin O’Brien’s set features an organic design, outdoor tables set upon sand with a makeshift barbeque nearby. The backdrop bursts in a vibrant sunset, the projections changing with the themes and delivery of the material. At one point, vulgar words are projected across the backdrop and stage, reminders of injustices that can never be taken back. Delvene Cockatoo-Collins’ costumes showcase the everyday man, pointing to the men we know and love in our own lives. David Walters’ lighting is warm and inviting, occasionally shifting to jarring and explosive where needed, supported by Wil Hughes’ tearjerking sound design.
The play’s material, which is largely stories that evolve in emotional depth as the characters feel safe to unfold, weaves in a seemingly disconnected manner. This however reflects the reality of the lived experience – no two people ever share the same experience, and yet in disparity there is also commonality. Situations change, emotions, resilience and love stay the same.
Bani is a stand-out performer, each line delivered with conviction that doesn’t overpower. Wyles also shines, displaying a cheeky likability and leading the cast in a singalong on his guitar. Pedersen was flown in the morning of the performance to replace an unwell cast member, and his delivery of emotion in tender moments is striking. The end of the show features a nice personal addition from each member of the cast.
'Dear Son' highlights the unique experiences of Aboriginal and Torres Strait Islander families, while exhibiting the great truth that we are all the same – we long to be loved, known and to make each other proud. We hope for more real-world spaces where men can share as honestly and cathartically as 'Dear Son'.
