From the moment you enter 'The Secret River' (a stage adaptation by Andrew Bovell of Kate Grenville’s novel) you are brought to Dharug country on the Hawkesbury River.
The backdrop to the action is an imposing yet simple sweep of cloth that runs from the fly loft to the back of the stage. It creates a protective enclosure reminiscent of both rock and clothing. Gumtrees tower from lighting rigs and while the eye grasps the cavernous majesty indicated, the hearth provides the human focal point on the ground. The set is fittingly unchanged from beginning to end, while the human drama played out in front of it devastates its inhabitants.
The simple set and choreography is reminiscent of Bangarra Dance (Stephen Page is an artistic associate for the production) as is the music blending traditional Aboriginal music with a western score (by Iain Grandage with tributes to Nyman) using predominantly cello, piano and percussion.
This is a phenomenally comprehensive piece of theatre where music, set, performance and narrative intertwine so finely, the metaphors present themselves. The same hearth is home for the Dharug and the Thornhills; the women call their children in from either side of the water. Sall Thornhill counts down the agreed five years (she is longing to go home, but Will feels disenfranchised in England and the chance to be somebody in the colony) with tally marks recreated by her husband as a fence at the end.
In his welcome note, QTC’s Artistic Director Sam Strong refers to 'The Secret River' as an “epic”. Its scope is epic but it creates this universal sweep in the small world of two families and their social context, and in doing so can examine the internal reality of the protagonists, thoughts and actions that lead to huge consequences for their communities and beyond. We feel with the troubled elder Yalamundi (Kelton Pell) as he watches the white man, knowing the stories from along the river not knowing how to resist the change. We feel for the children first scared, then curious, then comfortable with their new friends. We experience the dilemma of Thornhill punished for being born into poverty and finally given a chance to thrive. But this production is “epic” in another sense and we are frequently reminded by theatrical devices, such as the lighting rig intertwined with the trees, the musician on the stage, and the narrator, that this is not reality even if it bears truth.
It is actually hard to overpraise this production. Sure, there are moments when words are lost to loud music or barking dogs, but these flaws are insignificant. The minor characters are sometimes simplifications, but the range of personalities and attitudes are what count in a frontier community where things are lonely.
The Director’s Note from Neil Armfield starts by saying it is “a difficult story to tell. For all the beauty, dignity and depth of this tale it leads relentlessly into dark places”. It is remarkable in that the story has been made so digestible without removing the discomfort.
The narrative keeps momentum and purpose with various staging and dramatic representations (even the Brechtian ones). The narrator links and reflects on scenes as the simple props from the house are reformed to make the Hope (Will’s boat), or the stage turns rapidly into a wet slippery field or field of corn. The dogs (played by actors) blur the boundary between animal aggression and human fear. And the dialogue is kept fresh in both languages with jokes and songs reflecting deeper feelings.
The horrific massacre scene is dissected so we see the vicious fear of the whites, that they work up with a warped sense of defending the old country to murderous heights (they sing 'London Bridge is Falling Down') juxtaposed with the slow motion felling of defenceless people.
This is an appalling story to tell, but it is Australia’s story and the whole cast and creative teams should feel proud to have bought this drama to life. It is not a fun but an essential and impressive night at the theatre. As Kate Grenville says, putting “a human face to it opens the door to understanding. This is a story about people – black and white – making hard choices.” As we leave the theatre we enter that story and the arena in which we act.
'The Secret River' performs Queensland Performing Arts Centre until 5 March.
