Presented by Sydney Theatre Company and Adelaide Festival in association with Bangarra Dance Theatre and Adelaide Festival Centre
Reviewed Friday 9th March 2012
Conceived, directed and choreographed by Stephen Page, we are taken inside an Arnhem Land community caught between their traditional culture and the influences of modern Australia. We meet two two Yolngu families, Dhuwu and Yirritja, and see them going about their daily routine, their interactions with one another. Wayne Blair wrote the story, created by himself with Kathy Balngayngu Marika, and Stephen Page.
The set, by Peter England, is dominated by modern structures, a decaying chain fence, looking like it might once have been a tennis court, and a power pole leaning at a precarious angle. Behind it, growing out of the red sand, sparse reed like vegetation is taking over again. David Page, as a dog, passes through the set and Cherish appears, living in a world of her own and carrying her bag of mobile telephones, conversing with the former owners.
The importance of Damien Cooper's transformative lighting is immediately evident and the music and sound provided by Steve Francis complements the moods superbly. They provide a marvellously atmospheric atmosphere for Ursula Yovich, in a sensational performance as the mentally ill Cherish, to create a feeling of unease right from the start, an unease that grows into the conflict of ancient and modern.
The cast of twelve speak mainly in the Yolngu tongue with small snippets of English, but the words are not needed to convey the story as the action makes it all very clear. The story is told through movement, dance, the expressiveness of the Yolngu story telling and just enough English to clarify the occasional moment.
There is a forbidden love, the girl already promised to another, the rejection of a man who has been away and gained a university degree, the conniving mining company who telephone, trying to get their way by setting the two families at odds with one another, a moment of black comedy sending up the early British schooling, and it all ends with a suicide and funeral. There is a lot crammed into this piece, with continual reminders of the theme, such as the young people listening to iPods, and the use of a shopping trolley to bring groceries, then using bottled water with the flour to make damper.
Kelton Pell is Billy, the man who has educated himself in western ways, shows the suffering at fitting into neither world in a well conceived performance. David Page excels as both Donkey, the dog and as Bapi the provider of kava for the men to drink.
Kathy Balngayngu Marika, Elaine Crombie, Rarriwuy Hicks, Rhimi Johnson Page, Nolene Marika, Djakapurra Munyarryun, Hunter Page Lochard, and Tessa Rose Meyne Wyatt complete the cast, all offering excellent performances in this strongly collaborative ensemble piece.
There is a very big story being told here in a simple and clear way, by reducing down how the conflicting forces of old and new meeting one another, directly and personally affects a dozen people.
Reviewed by Barry Lenny, Arts Editor, Glam Adelaide.
Venue: Dunstan Playhouse, Adelaide Festival Centre, King William Road, Adelaide
Season: To Sun 11th March 2012
Duration: 80min
Tickets: $30 to $59
Bookings: BASS 131 246, BASS outlets, or online
Photo: Stephen Dupont
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