Indigenous Australian Plays and Performances - Timeline of Australian Indigenous Drama and Storytelling in Dramatic Form
(This list is compiled from many sources. Firstly, the many plays, performances and ceremonies I have seen over my lifetime. Secondly from books and article on Australian Indigenous drama and theatre including the excellent Creating Frames, Contemporary Indigenous Theatre in Australia by Maryrose Casey. Since Kevin Gilbert wrote The Cherry Pickers in 1968, there have over 100 indigenous Australian plays written and performed up to 2014. However, older Australian Indigenous drama has been passed down through oral, ritual and performance traditions. Some here are dated based on archeological evidence through a triangulated process of noting archeological references and dating and relating these to cultural references and geological or geographical references Some significant non-indigenous rendering as of indigenous work are included because of their special or contextual significance.)
Before I list these chronologically, I will put a list of the plays and performances of the last two years first:
2024
Big Name Big Blanket. Ilbijerri Theatre Company. Touring Production. Premiered at the Sydney Festival January 2024 at the Sydney Theatre Company. Playwright - Andrea James. Story and Cultural Consultant Sammy Butcher (founding member of the Warumpi Band). Co-Directors - Dr Rachael Maza and Anyupa Butcher. Musical Director - Gary Watling. Starring Baykali Ganambarr (Sammy), Googoorrewon Knox (George), Teangi Knox (Gordon), Aaron McGrath (Brian) and Jackson Peele (Neil), this rock and roll theatre performance tells the story of the Australian First Nations band the Warumpi Band as told through the perspective of the Butcher Brothers. The band, one of the first to sing in both Australian First Nations languages and English was seminal both musically and in terms of cultural expression and 'black' voices with iconic songs like Jailanguru Pakurnu, My Island Home and Blackfella/Whitefella. The show weaves music, language, culture into a wonderful blanket of stories.
Waru. Bangarra Dance Theatre. Children's theatre production. Sydney. National tour in 2024. Under the skies of the Torres Strait, a green turtle navigates his way back home. The story is inspired by the totem stories of the green turtle.
2025
The Black Woman of Gippsland. Andrea James. Yirraamboi Festival, Southbank Theatre, VIC. The Black Woman of Gippsland by Yorta Yorta and Gunaikurnai theatre-maker Andrea James, reimagines a Victorian colonial myth through a contemporary First Nations lens, placing Indigenous voices at the centre. It follows Jacinta, a young academic drawn into the legend of a white woman said to have lived among the Gunaikurnai people in the 1840s, as her search for truth causes the past and present to collide. Through this journey, the play challenges the privileging of colonial myths over lived First Nations histories, explores intergenerational trauma, and confronts the ongoing impacts of colonisation today.
Blue. Written by Thomas Weatherall. Black Swan State Theatre Company, Perth, WA. A deeply moving solo play following Mark, a young Aboriginal man navigating grief, loss and mental health as he transitions into adulthood, with the narrative delivered in intimate monologue and symbolic staging. Through personal reflection and emotional honesty, the work addresses love, trauma and the complexity of processing pain and hope simultaneously.
Currents Beneath Skin. Written by Maddison Fraser & Harlisha Newie-Joe. Yellamundie Festival (Moogahlin/Carriageworks), Adelaide, SA. A new work pairing movement and storytelling to evoke the deep connection between body, land and culture, where the physical and emotional currents beneath the surface reveal histories of resilience and belonging. It explores identity, healing and the unseen forces that shape individual and collective First Nations lives.
Dear Son. Adapted by Isaac Drandic & John Harvey from Thomas Mayo’s book. Queensland Theatre / Belvoir Street Theatre (Sydney Festival). QLD & NSW. This ensemble piece brings together letters and reflections from First Nations fathers and sons, exploring intergenerational wisdom, love, resilience and the emotional complexity of Indigenous manhood in a poignant blend of humour, music and personal narrative. The play celebrates culture and family while addressing trauma, identity and the strength in vulnerability through heartfelt stories rooted in lived experience.
Diary of a City Blak. Written by Luke Currie-Richardson. Yellamundie Festival (Moogahlin/Carriageworks) Adelaide, SA. A multidisciplinary performance weaving dance, poetry, photography and spoken word to explore the experience of growing up Indigenous in the city, navigating visibility, cultural pressure and identity. The piece poignantly interrogates what it means to be “Blak” in urban spaces while maintaining cultural connection.
Imigo. Written by Jacob Boehme. Yellamundie Festival (Moogahlin/Carriageworks), Adelaide, SA. A theatre concert that traces the life of Michelle Tobin, an HIV-positive Yorta Yorta mother and advocate, blending music and storytelling to depict resilience, love and the ongoing challenges facing Aboriginal women in Australia. Through lived experience and song, it highlights perseverance in the face of health, social and cultural adversity.
The Lottery. Written by Waverley Stanley Jr. Yellamundie Festival (Moogahlin/Carriageworks), Adelaide, SA. This work, presented as one of the Yellamundie Festival’s new stories, uses dramatic form to engage questions of chance, community and the unpredictability of life through a First Peoples lens. It foregrounds personal and collective decision-making within contexts of tradition, opportunity and consequence.
Marrow. Created by Daniel Riley — Australian Dance Theatre (national tour). A visceral dance-theatre work sparked by the aftermath of the 2023 Voice referendum that uses movement, smoke, sound and ensemble choreography to explore cultural identity, frustration, collective healing and visions for Australia’s shared future. It channels national unease and hope through expressive performance grounded in First Nations perspectives and collaboration with Elders and composers.
The Steps of The Mighty by H Lawrence Sumner for the Yellamundie Festival (Moogahlin and Carriageworks), Adelaide, SA. This work evokes memory and aspiration through the story of an elder in a nursing home who instils hope in her children by retelling the achievements of remarkable Aboriginal runners. It reflects themes of legacy, family connection and how personal histories carry meaning across generations.
Warriwal ~ Milky Way. Written by Jo Clancy & Stuart McMinn. Yellamundie Festival (Moogahlin/Carriageworks), Adelaide, SA. A dance theatre work that revives ancestral languages and knowledge through movements connected to the night sky’s Milky Way, embodying cultural continuity and spirit. It celebrates ancestral song, dance and the enduring presence of Country as a source of identity and memory.
White Fella, Yella Tree. Dylan van den Berg. Griffin Theatre Company, NSW. This play explores identity, youth and first love. This play explores colonisation and what is is to be a storyteller or keeper of knowledge.
65,000BC - 70,000 BC
People arrive in Australia from South East Asia by boat or a landbridge. They probably first settle around Jinmium in the Northern territory. Some evidence of early storytelling rituals seems to point to storytelling even from this period.
54,000BC
Evidence from a rock shelter in Arnhem Land (400 km east of Darwin) suggest body decoration used in dance and storytelling.
35,000BC
"Long ago, four giant beings arrived in southeast Australia. Three strode out to other parts of the continent, but one crouched in place. His body transformed into a volcano called Budj Bim, and his teeth became the lava the volcano spat out." This story which the Gunditjimara people of South Western Victoria (near Warrambool) tells of the formation of the volcanic eruption of Budi Bim 37,000 years ago and seems to validate everything that we scientifically know. It is probably one of the oldest stories every passed on through storytelling, songlines and dances.
30,000BC
Fireplace evidence suggests rituals and dancing attached to storytelling traditions in Lake Mungo NSW and Keilor, Victoria.
Indigenous remains around the now extinct Willandra Lakes system (Mungo National Park, NSW) show evidence of spiritual and creative aspects to storytelling traditions and dance.
20,000BC
Sites at Wentworth Falls (NSW) and Koonalda (S.A.) suggest art, body decorating and storytelling are linked in more formal rituals.
18,000BC
Art at Ubirr in Kakadu National Park (Northern Territory, 300 kms east of Darwin) depicts now extinct animals, the Thylacine (Tasmanian tiger), and Zaglossus (the long-beaked echidna).
11,000BC
Landbridges between mainland Australia and Tasmania are flooded. Some songlines and dreamtime stories of both Victorian indigenous peoples and Tasmanian indigenous peoples tell the story of this event. It is believed that some of these stories may have been passed down continuously from this time.
6,000BC
Earliest visual evidence of Indigenous belief in and representation of the Rainbow Serpent which becomes a continuous creation story and belief system in many Australian Indigenous cultures.
3,000BC
Cave paintings dated around this period suggest the adoption of tribal and clan totems and the actual use of totems in rituals.
1,000BC
Evidence in a number of cave paintings suggests the use of didgeridoos and body painting used for rituals.
500BC
Many of the dreamtime stories told today seem to date from around this period since some specific geological events are mentioned or alluded to in stories.
200AD
Some shapes and gestures of modern storytelling dances can be recognized from cave paintings dated around this period in the Kimberly region.
900AD
Evidence of rituals dated to this period have been found in campsites and in cave paintings throughout NSW and Victoria.
1250
Trade is started with Macassan traders around this time as verified through indigenous stories and the remains of Macassan campsites on Australia’s northern coast. Some Macassan motifs and rituals creep into some tribal rituals, dances and storytelling.
1300
Trade with Papuans begins. Papuan style designs and influence is seen in some rituals and totems.
1400
Some indigenous songlines start to tell of Chinese and Arab traders arriving during this period. Some suggest some ships from Zheng He’s fleet landed around this period.
1500 Tales of white sails and a shipwreck appear in stories of indigenous people near Warnambool. This may be the story of the famous Mahogany Ship in Armstrong Bay. Portuguese ships arrive and trade with indigenous peoples.
Songlines in Northern Australia tell of strange visitors which could be the Spanish ships of this period.
1600
Songlines and dance stories of the people of the Torres Strait islands and indigenous clans in the far north Queensland tell of the landing of boats and strange sails. This is probably tales of the Dutch explorer Willem Janszoon and a Spanish ship commanded by Luis Vaez de Torres.
Tales of strange boats start to appear in tales told by Tasmanian indigenous people. These are probably tales of the Dutch explorer and seafarer Abel Janszoon Tasman.
Stories from tribes in the south of Western Australia tell of the landing of a ship. This is probably a tale of either Dutch Captain William de Vlamingh or Englishman William Dampier.
1770’s
Songlines and stories from many tribes in NSW and QLD tell of a ship travelling up the coast. This is certainly Englishman Captain James Cook and the Endeavour. Cook sailed up the east coast of Australia and mapped most of the eastern coastline. Cook wrote in his journal that the people of ‘New Holland’ seemed in many ways far happier than their European counterparts.
1788
Arrival of the first Fleet in Australia under the command of Captain Phillip. First indigenous people and convicts killed. Arabanoo becomes the first Australian Indigenous person held captive by Europeans. Captain estimates the Indigenous population to be about 1,500 in the Sydney region and 150,000 across the continent. In fact, almost 1 million Indigenous people probably lived across Australia at this time. Journal of a First Fleet Surgeon (George Bouchier Worgan) documents some Indigenous Australian rituals and ceremonies.
1789
Smallpox epidemic decimates Eora Indigenous people of Port Jackson, Botany Bay and Broken Bay. This is told of in songlines and dances throughout NSW.
1790
Indigenous man Bennelong and a boy named Yemmerrawanie are captured and taken to England. They perform the first songlines and dances in Europe.
1833
Near modern day Perth, indigenous resistance leader Yagan is captured and beheaded after a peaceful corroboree.
1835-36
John Batman attempts to make a ‘treaty’ with indigenous peoples of the Port Phillip Bay area, the only attempt by colonists to sign a treaty for land with indigenous land owners. Governor Bourke does not recognize the treaty.
Special corroboree and inter-clan ceremony held in on the site of present day Parliament House Hill in Melbourne. Edward Finn (aka Garryowen) describes this auspicious event, the first full corroboree witnesses by Europeans.
1845
Explorer Edward John Eyre describes and sketches many performances and ceremonies from present day Adelaide to King George Sound especially the Kangaroo Dance of King George’s Sound.
1857
Gertrude, the Emigrant: A Tale of Colonial Life – Louisa Atkinson (Australia’s first known female writer) documents some ceremonies of Indigenous clans.
1860
Performance in Lamplough of Djadjawurring tribesmen performing on stage in a staged drama/story. Probably the first performance of indigenous actors on stage.
1893
Rignold’s 1893 dramatisations of the book The Mystery of the Hansom Cab and his melodrama It’s Too Late To Change have indigenous characters.
1898
Torres Strait Islanders documentary made by Alfred Cort Haddon of Malu-Bomai ceremony dance sequences used traditionally in longer ceremonies and dance drama storytelling sequences. The first anthropological film and the first appearance of Indigenous Australian performers on film.
1915
Indigenous Australian activist, toy-maker and street theatre artist Anthony Martin Fernando begins his diary of his ideas and observations on the plight of Australian Indigenous peoples. He starts street protests and street ‘performance’ demonstrations and is arrested. He is interned, released and arrested again in 1923. He is deported back to England. In London in the 1920’s, he becomes known for his costume of a large overcoat decorated with small white toy skulls and placard which said:
“This is all Australia has left of my people.”
1917
The French documentary film Chez les sauvages Australiens shows dance and dance drama ceremonies and cultural practices.
1929
Indigenous writer David Unaipon’s Myths and Legends of the Australian Aboriginals is published. The first book by an Australian Indigenous writer.
1936
Bill Onus becomes the first Australian Indigenous actor to perform in a feature film when he appears in Charles Chauvel’s Uncivilised.
1946
Bill Onus becomes the first Australian Indigenous actor to perform in an international feature film when he appears in Harry Watt’s The Overlanders with Chips Rafferty. Bill also puts sequences about the First Nations Pilbara Strike in the collaborative group devised play entitled White Justice developed by the Aboriginal Advancement League and Melbourne's New Theatre. Sequences from this performance were filmed by Onus as part of the first film filmed, directed and produced by an Australian First Nations artist.
1949
Onus, Bill. Corroboree 1949. Wirth’s Olympia. Melbourne. 1949. First known revue show directed and produced by an Indigenous Australian director and involving an all Indigenous Australian cast. Bill Onus and Albert Namatjira made and painted the set designs making them the first modern indigenous Australian set designers.
1951
Nicholls, Doug & Onus, Bill. An Indigenous Moomba: Out of the Dark. Extracts in State Library of Victoria. Melbourne. 1951. Indigenous revue show featuring Bill Onus, Doug Nicholls, opera singer Harold Blair and indigenous blues singer Georgia Lee. The revue included a couple of satirical black comedy pieces as well as modern and more traditional mimed pieces. The revue played to full houses of 2,000 people for its entire run at Melbourne's Princess Theatre.
1955
Ngarla Kunoth becomes the first Indigenous Australian actress to appear in a feature film when she stars in the title role of Jedda in Charles Chauvel’s Jedda. Indigenous actor Robert Tudawali also features in this film.
1959
Indigenous actors appear on stage in a reading of Oriel Gray’s Burst of Summer.
1960
Indigenous singer and actor ‘Jimmy’ Little appears in his first film Shadow of the Boomerang.
Indigenous actor Brian Syron starts work as an actor at the Old Tote Theatre in Sydney.
1963
Indigenous actors including Bill Onus appear in the New Theatre's (Melbourne) productions of White Justice and Fountains Beyond. A section of from the 2020/2021 documentary Ablaze shows part of a scene depicting the Pilbara Indigenous Walk off taken from the New Theatre production of White Justice.
1968
Gilbert, Kevin. The Cherry Pickers. Burrambinga Books, 1988.
1971
Gilbert, Kevin. Evening of Fear. Mews Theatre Sydney.1971.
Gilbert, Kevin. The God’s Look Down. Wayside Theatre. Sydney. 1971.
1972:
Jack Charles is Up and Fighting. Nindethana Theatre/New Theatre Melbourne. Melbourne. 1972.
Maza, Bob and Foley, Gary. Basically Black. National Black Theatre & Nimrod Theatre. Sydney. 1972.
Romeril, John. Bastardy. Nindethana Theatre. Melbourne. 1972.
1973
Davis, Jack. Steel and the Stone. Bunbury Arts Festival. Western Australia. 1973.
Williams, Harry. Mission Urban Identity. Nindethana Theatre. Melbourne. 1973.
1975
Davis Jack. The Biter Bit Black Theatre Arts Center Redfern. 1975.
1976:
Bostock, Gerry. Here Comes the Nigger. Black Theatre Arts Center. Redfern. 1976.
1977:
Read, Bill. Truganinni. Heinemann Publishers. Sydney.1977.
1978:
Merritt, Robert. The Cake Man. Black Theatre Arts Center. Redfern. Currency Press, 1978.
Shearer, J. The Foreman. Sydney: Currency Press 1978.
1979:
Davis, Jack. Kullark. National Theatre Company WA. Published by Currency Press, 1983.
Hewitt, Dorothy. The Man from Mukinupin. Currency Press. 1979.
1981:
Keneally, Thomas. Bullies’ House. Currency Press. 1981.
1982:
Davis, Jack The Dreamers. Swan River Stage Company. 1982. Published by Currency Press, 1983.
Romeril, John. Bastardy. Yackandandah Publishers. 1982.
Everett, Jim. Put Your Boots. Salamanca Theatre. Hobart. 1982.
1983:
Borg, Sonia & Maris, Hyllus. Women of the Sun. Television Series Script and Screenplay. Currency Press. 1983.
Merritt, Robert. Short Changed. Wayside Theatre Sydney & Edward Street Theatre, Brisbane. 1983
1984:
Johnson, Eva Tjindarella. First National Aboriginal Women’s Art Festival. Adelaide. 1984.
Johnson, Eva. Onward to Glory. Play Reading held at First National Aboriginal Women’s Art Festival. Adelaide. 1984.
1985:
Davis, Jack. The Honey Pot. Melbourne Next Wave Festival 1985. Published by Currency Press, 1986.
Davis, Jack. No Sugar. Perth Playhouse Company 1985. Published by Currency Press. 1986.
1986:
Davis, Jack. No Sugar. AETT. (Remounted production). Dir. Andrew Ross. Fitzroy Town Hall. Melbourne. 1986.
Maza, Bob. Mereki. Toe Truck Theatre.Sydney.1986.
Strachan, Tony. State of Shock. Currency Press. 1986.
1987:
Bennett, Bill. Backlash. Belvoir Street Theatre, Sydney. 1987.
Everett, Jimmy. Cultural Lesson. Belvoir Street Theatre, Sydney. 1987.
Francis, Gordon. God's Best Country. Currency Press. 1987.
Motherwell, Phill. Steal Away Home. Currency Press. 1987.
Harding, John. The Rally. Radio Play. First aired July 1987 on 3CR. 1987.
Walker, Vivian. No Trouble. Universal Theatre. Melbourne. 1987.
Walley, Richard. Coordah. Western Australian Theatre Company. 1987.
Aboriginal National Theatre Trust established. Redfern, Sydney.
The First National Black Playwrights Conference took place from January 12th until January 29th, 1987 at the Australian National University in Canberra, ACT. Play, poetry readings, workshops and performed readings were done of work by Kath Walker (Oodgeroo Noonuccal) and Colin Johnson. Also a rehearsed reading of ‘We are Survivors' by James Everett, ‘Murras’ by Eva Johnson, ‘Man Hunt’ by Kath Walker (Oodgeroo Noonuccal) and ‘Coordah’ by Richard Walley. The Friday the 23rd and the next week had rehearsed readings of plays by Lydia Miller, Joanna Lambert, Rhoda Roberts, Richard Guthrie, Eric Willmott and Vivian Walker. This included ‘The Hijacker’ by Richard Guthrie and Eric Willmott. The following is a documentary film made of the rehearsals and readings from ‘Karbara: The First Born’ which I remember as being first written in draft form by Lydia Miller and Joanna Lambert but it used some of the poetry and ideas from Jack Davis’ ‘First Born’.
(Warning: Aboriginal and Torres Strait Islander [viewers, listeners, readers] are advised that the following program may contain images and voices of people who have died. This warning should be used when it cannot be clearly established that an Indigenous Australian featured in the content is living)
https://www.youtube.com/watch?v=oTqyce7hHmI
Some of the people who attended the conference were Carlo Bianchino; Raymond Blanco; Susanne Butt; Jack Charles, Lillian Crombie; Jack Davis; Andy Devine; Ernie Dingo; Chicka Dixon; Steve Dodd; Mark Eckersley; Jimmy Everett; Gary Foley; Kevin Gilbert; Rosalie Graham; Richard Guthrie, Annie Hanlon; John Harding; Mini Heath; Colin Johnson, Eva Johnson; Michael Johnson; David Kennedy; Maroochy Kukoyi; Joanna Lambert; Gordon Launders; Jane Leslie; Lydia Miller; Bob Maza; Bob McCleod; Robert Merritt Jnr; Kristina Nehm; Oodgeroo Noonuccal; Dorothea Randall; Rhoda Roberts; Justine Saunders; Guy Shoesmith; Kevin Smith; Brian Syron; Vicki Van Hout; Vivian Walker; Calvin Warcon; Richard Walley; Maureen Watson; Archie Weller; Cristopher Williams; Eric Willmott.
1988:
Davis, Jack. Barungin. Marli Biyol Company (in association with the AETT). 1988.
Davis, Jack. First Born Trilogy. Marli Biyol Company (in association with the AETT). Hammersmith, London, U.K. 1988.
Foran, Barney. Come Hell or High Water.1988.
Johnson, Eva. Murras. Belvoir Street Theatre. Sydney. 1988
Maza, Bob. The Keepers. Belvoir Street Theatre. Sydney. 1988.
Mooney, Ray. Black Rabbit. Currency Press.1988.
Nowra, Louis. Capricornia. Currency Press. 1988.
Oodgeroo & Kabul (Vivian Walker). The Rainbow Serpent Legend. Expo. Brisbane. 1988. (Multi-media Presentation)
Walker, Vivian. No Trouble. Universal Theatre. Melbourne. 1988 (Revived)
Walker, Vivian. Kadi. Expo. Brisbane. 1988
1989:
Bennett, Roger. Up the Ladder. Darwin Theatre Company. 1989.
Davis, Jack. Moorlie and the Leprecorns. Marli Biyol Company. Perth. 1989. Published by Currency Press in 1994.
Johnson, Eva. Mimini’s Voices. Magpie Theatre Company. Adelaide. 1989.
Harding, John. Not Just Bricks and Mortar. Ilbijerri Theatre Company (commissioned for the Aboriginal Housing Board). North Melbourne, Melbourne.1989.
Kelly, Ray. Get up and Dance. Freewheels Theatre. Newcastle. 1989.
Walley, Richard. Munjong. ANTT. Victorian Arts Centre, Melbourne. 1989.
Watson, Maureen. Mairwair. Access Arts Queensland. Kangaroo Point, Brisbane. 1989.
Weller, Archie. Nidjera. Melbourne Workers Theatre. 1989 (Toured 1989 and 1990).
1990:
Bennell, Eddie. The Silent Years. Deckchair Theatre Company. Perth. 1990
Chi, Jimmy and Kuckles. Bran Nue Dae. Octagon Theatre. Perth. Published by Currency Press & Magdabala Books. 1990.
Davis Jack. Rainmaker. Spare Parts Puppet Theatre. Perth. 1990.
Johnson, Eva. What do they call me?. National Lesbian Festival. Melbourne 1990. Australian Gay and Lesbian Plays. Published by Currency Press. 1996.
McCarthy, Steve, Cheryl Buchanan. Jalalu Jalu: Land Law and Lies. Street Arts. Brisbane. 1990.
Walker, Vivian. Munjong. Aboriginal National Theatre Trust. Victorian Arts Centre. 1990.
Weller, Archie. Nidjera. Melbourne Workers Theatre. 1990.
1991:
Manning, Ned. Close to the Bone. Eora Centre for Visual and Performing Arts. Sydney. 1991. Published by Currency Press 1994.
Narogen, Mudrooroo, Heiner Muller. Aboriginal Demonstrators Confront the Declaration of the Australian Republic on the 26th January 2001 with the Production of Deruftag by Heiner Muller. Belvior Street Theatre. Sydney. 1991. Published by University Press. 1993.
Formation of the Ilbijerri Theatre Company in Melbourne. It remains the longest surviving Indigenous Australian theatre company. The company premiered with Up the Road written by John hardy and directed by Kylie Belling.
Harding, John. Not just Bricks and Mortar. Ilbijerri Theatre Company. Melbourne.1990.
Cragie, Cathie. Koori Love. Belvoir Street Theatre. Sydney. 1991.
1992:
Bennell, Eddy. My Spiritual Dreaming. Deackchair Production. Perth. 1992.
Davis,Jack. Wahngin. Black Swan Theatre. Perth. 1992.
Davis,Jack. In Our Town. Currency Press. 1992.
Johnson, Eva. Two Bob in the Quid. Junctions Theatre. Adelaide. 1992.
Morgan, Sally. Sister Girl. Black Swan Theatre Company. Perth. 1992.
Watson, Maureen. Through Murri Eyes. Street arts. Brisbane. 1992.
Walley, Richard. Balaan, Balan Gwdha. Up Front Community Theatre. Playhouse. Canberra. 1992.
1993:
Early, Eric. The Custodians. Currency Press. 1993.
Johnson, Eva. Heart Beat of the Earth. Second World Indigenous Youth Conference. Darwin. 1993.
Smith, Michael & Knight, Ingle. Wicked. Aboriginal Youth Theatre. Perth. 1993.
Murray, Peta. One Woman’s Song. Queensland Theatre Company. 1993.
Nowra, Louis. Radiance. Currency Press. 1993.
Summons, John. Massacre at Myall Creek. Cambridge University Press. 1993.
Establishment of the Yirra Yaakin Theatre Company in Western Australia. Yir-raarh Yaarh-kin means "Stand Tall" in the Noongar language.
1994:
Collie, Therese & Craige, Cathie. Murri Time. KITE Theatre. Brisbane. 1994
Lawford, Ningali Robyn Archer, Angela Chaplin. Ningali. Deck Chair Theatre. Fremantle WA. 1994.
Lee, Gary. Keep Him my Heart. Darwin. 1994.
Marrugeku Company founded. Indigenous Australian dance theatre company committed to innovative performance, storytelling and connections to a range of Indigenous Australian communities and nations.
Nowra Louis. Crow. Currency Press. 1994.
Pell, Kelton. Bidenjarreb Pinjarra. Actors Center. Perth. 1994.
Shea, Glen. Food for Thought. Ilbijerri Theatre Company. Melbourne.
Parsons, Nick. Dead Heart. Currency Press. 1994.
Enoch, Wesley. Deborah Mailman. The 7 Stages of Grieving. La Boite Theatre. Brisbane. 1994. Published by Currency Press. 1997.
1995:
Bennett, Roger. Funerals and Circuses. Currency Press. 1995.
Everet, Jim Changing Time. Salamanca Theatre Company. Hobart. 1995.
Morgan, Sally The Flying Emu. Polygot Puppet Theatre. Melbourne. 1995.
Morgan, Sally Sally’s Story-Our Story. Come Out Festival. Brisbane. 1995.
Sam, Maryanne, Patricia Cornelius. Oh My God I‘m Black. Melbourne Workers Theatre.1995.
Thomson, Phil. Bidenjarreb Pinjarra. Pinjarra Project & Black Swan Theatre Company. Perth. 1995.
1996:
Chi, Jimmy. Corrugation Road. Black Swan Theatre. Perth. 1996.
Janson, Julie. Black Mary. Aboriginal Studies Press. 1996.
Kelly, Ray. Somewhere in the Darkness. Sydney Theatre Company. 1996.
Lewis, Tom E, Mac Gudgeon. Thumbul. Gasworks Theatre Melbourne. 1996.
Marrugeku Company. Mimi. Festival of Perth. 1996.
Morris, Mary. Shark Island Stories. Griffin Theatre Company. Sydney Festival. 1996.
1997:
Close, Jo-Ann. Runamuck. Yirra Yaakin Theatre Company. Perth. 1997.
Cheetham, Deborah. White Baptist Abba Fan. Olympic Arts Festival. Sydney. 1997.
Love, Owen. Black Genius. Main Street Theatre. SA. 1997.
Koorie Klowns. Oogadee Boogadee. Melbourne Workers Theatre. 1997.
Purcell, Leah, Scott Rankin. Box the Pony. Olympic Arts Festival. Sydney. 1997.
Sketchley, Maudie. Head Space. Artrage. Perth. 1997.
Bovell, Andrew, Milissa Reeves, Patricia Cornelius and Christos Tsiolkas. Who’s Afraid of the Working Class?. Melbourne Workers Theatre. 1997.
1998:
Graham, Trevor. Mabo. Life of an Island Man. Currency Press. 1998.
Harrison, Jane. Stolen. Currency Press. 1998.
Cruel Wild Woman. Directed by Lynette Narkle. Festival of Perth. Perth, W.A. 1998.
1999:
Missed Possession by Glenn Shea National Theatre Melbourne for the We Iri We Arts Festival St Kilda
2000:
Enoch, Wesley. The Sunshine Club. Sydney Theatre Company. 2000.
Marrugeku Company. Mimi. World Expo Hannover & Olympic Arts Festival, Sydney. 2000.
Marrugeku Company. Crying Baby. Avant Premiere at Ganbalanya Community, Darwin Festival. 2000.
Winmar, Dallas. Aliwa. Sydney Production. 2000. Published by Currency Press. 2002.
2001:
Anderson, Tammy. I Don’t Wanna Play House. 2001.
Bovell, Andrew. Holy Day. Currency Press. 2001.
Marrugeku Company. Crying Baby. Perth International Arts Festival. Perth, the Australian National Museum, Canberra & the also in a European Festival Tour in Belgium, the Republic of Ireland and the Netherlands. 2001.
Thomson, Phil. One Destiny. Black Swan Theatre Company. Perth. 2001.
2002:
Frankland, Richard J. Conversations with the Dead. In Black Inside Currency Press. 2002.
Harding, John. Enuf in ‘Black Inside’. Currency Press. 2002.
Jamieson, Trevor & Rankin, Scott. The Career Highlights of Mamu. Black Swan Theatre Company. Playhouse Theatre Adelaide. 2002.
Lawford, Ningali & Hung Le. Black and Tran. Adelaide Festival. Adelaide. 2002.
Marrugeku Company. Crying Baby. Cultural Inglesia Festival, Sau Paulo, Brazil & the Sydney Festival. 2002.
Milroy, Jadah. Crow Fire. In Black Inside Currency Press. 2002.
Purcell, Leah. Black Chicks Talking. Sydney Festival. Sydney Opera House. 2002.
Rigney, Tracey. Belonging. In Black Inside Currency Press. 2002.
Rrurrambu, George. Nerrpu. Melbourne Festival, Melbourne. 2002.
Sam, Maryanne. Casting Doubts. In Black Inside Currency Press. 2002.
2003:
Enoch, Wesley. The Story of the Miracle at Cookie’s Table. Currency Press. Sydney. 2003.
Thomson, Katherine. Wonderlands. Currency Press. Sydney. 2003.
2004:
Briggs, Tony. The Sapphires. Melbourne Theatre Company. Melbourne. 2004.
2005:
Briggs, Tony. The Sapphires. Company B. Sydney. 2005.
Enoch, Wesley. Black Medea. Currency Press. Sydney. 2005.
2006:
Aboriginal Dance Theatre. Visions of a Nomad & Nunukul Yuggera. Theatre ann het Spui. Amsterdam, Netherlands. 2006.
Jamieson, Trevor and Rankin, Scott. Ngapartji Ngapartji. Perth Festival, Perth & Sydney Opera House, Sydney. Theatre.
Marrugeku Company. Burning Daylight. Shinju Matsuri Festival, Broome, WA, Australia. 2006.
2007:
Blair, Wayne. Jesus Hopped the ‘A’ Train. Belvoir Street Theatre, Sydney. 2007.
Chopped Liver. Ilbijerri Theatre Company, Melbourne. 2007.
Marrugeku Company. Burning Daylight. Shinju Lurcher Theatre Spektakel, Zurich, Switzerland. 2007.
Valentine, A. Parramatta Girls. Belvoir Street Theatre, Sydney. Published by Currency Press. Strawberry Hills, Sydney. 2007
Sam, Maryanne. Lessons in Flight, a short play about the story of two estranged sisters who reunite in a hospital ward. Performed at Sydney Festival.
2008:
Hawke, Steve. Jandamarra. Black Swan Theatre Company. Performed first at the Perth International Arts Centre. 2008.
Yibiyung. Company B. Belvoir Theatre, Sydney. March 2008.
Songlines of a Mutti Mutti Man. Ilbijerri Theatre Company, Melbourne. 2008.
Jacki Jacki in the Box. Ilbijerri Theatre Company, Melbourne. 2008.
Dirty Mile. Ilbijerri Theatre Company, Melbourne. 2008.
Chopped Liver. Ilbijerri Theatre Company. National Tour. 2008.
2009:
Sisters of Gelam. Ilbijerri Theatre Company, Melbourne. 2009.
A Black Sheep Walks into a Baa. Ilbijerri Theatre Company. Melbourne International Comedy Festival. 2009.
Marrugeku Company. Burning Daylight. Broome Festival, Perth Institute of Contemporary Arts, Sydney, Melbourne Meat Markets, Melbourne & the Salamanca Arts Centre, Hobart. 2009.
2010:
Rankin, Scott. Namatjira. Belvoir Street Theatre, Sydney 2010.
Charles, Jack. Jack Charles Vs The Crown. Ilbijerri Theatre Company. Melbourne International Arts Festival. Melbourne. 2010.
James, Andrea, Maza Long, Rachael & Nanni, Giordano. Coranderrk: We Will Show the Country. Ilbijerri Theatre Company. La Mama Courthouse Theatre. Melbourne. 2010.
Black Sheep: Glorious Baastards. Ilbijerri Theatre Company. Melbourne International Comedy Festival. 2010.
Body Armour. Ilbijerri Theatre Company, Melbourne. Victorian Tour. 2010.
2011:
Cheetham, Deborah. Pecan Summer. Victorian Arts Centre. 2011.
Jamieson, Trevor and Rankin, Scott. Ngapartji Ngapartji. Malthouse Theatre. Melbourne.
Foley, Gary. Foley. Ilbijerri Theatre Company. Victorian Arts Centre. 2011.
Waddawewant. Ilbijerri Theatre Company. Worawa Aboriginal College. 2011.
James, Andrea, Maza Long, Rachael & Nanni, Giordano. Coranderrk: We Will Show the Country. Ilbijerri Theatre Company & La Mama Theatre. Melbourne. 2011.
Kribb, Reg. Krakouer! Seymour Centre, Sydney. July 2011.
Rankin, Scott. Namatjira. Malthouse Theatre, Melbourne. 2011.
2012:
Blair, Wayne. Bloodland. Sydney Theatre Company and Bangarra Dance Theatre. Sydney.
Valentine, Alana. Head Full of Love. Queensland Theatre Company (first performed in Darwin, N.T. & Cremorne Theatre in Brisbane, Q.L.D).
Yarrabah! The Musical. Developed by Rhoda Roberts, Shenzo Gregorio, Opera Australia & the Yarrabah Community. Performed in Yarrabah, Queensland.
Terrain David Page & Frances Rings. Bangara Dance Theatre. Adelaide Festival. Adelaide.
3rd Indigenous Theatre Forum. Darwin, Northern Territory.
Charles, Jack. Jack Charles Vs The Crown (National Tour). Ilbijerri Theatre Company, Perth International Festival.
Bindjareb Pinjarra. Ilbijerri Theatre Company. Footscray Arts Centre. Footscray.
2013:
The Shadow King. Tom E. Lewis and Michael Kantor. Sydney Festival (NSW), Brisbane Festival (QLD), Perth Festival (W.A.) and Malthouse Theatre, Melbourne (VIC).
Beautiful One Day. Rachael Maza. Ilbijerri Theatre Company. Belvoir Theatre, Sydney (NSW) and North Melbourne Meat Market (VIC).
Tanderrum. Ilbijerri Theatre Company. Melbourne Festival. Melbourne.
2014:
The Visitors. Jane Harrison. Melbourne Theatre Company’s ‘Cybec Electric Festival’. Melbourne (VIC).
North West of Nowhere. Ilbijerri Theatre Company. North Melbourne Meat Market. (VIC).
2015:
Blak Cabaret. Malthouse Theatre. South Melbourne.
Black Diggers. Tom Wright (directed by Wesley Enoch). Queensland Theatre Company. Sydney Opera House. Sydney Festival. Sydney (NSW).
King Hit. David Milroy. (Production Remounting). Yirra Yaakin Theatre Company. Perth. 2015.
The Giants. Yirra Yaakin Theatre Company. Perth International Arts Festival. 2015.
Beautiful One Day. (New Production). Rachael Maza. Ilbijerri Theatre Company. North Melbourne Meat Market (VIC). This is a verbatim-based documentary piece of theatre.
2016:
Bovell, Andrew. The Secret River (Based on the novel of the same name by Kate Grenville). National Tour. Performed by the Sydney Theatre Company.
Bangarra Dance Theatre. Terrain. (Remounted National touring production). Performed at the Riverside Theatres, Parramatta.
James, Andrea & Hearst, Elise. Bright World. Presented by Theatreworks at Acland Street, St Kilda.
Lui, Nakkiah. Power Plays. Performed at the Belvoir Theatre Company.
2017:
Bangarra Dance Theatre. One’s Country – The Spine of Our Story. Performed at Carriageworks, Sydney.
Bangarra Dance Theatre. Bennelong. Performed at the Riverside Theatres, Parramatta. Toured Nationally.
Bangarra Dance Theatre. Dark Emu. Performed at the Sydney Opera House. Toured nationally.
Enoch, Wesley & Mailman, Deborah. The Seven Stages of Grieving (updated and revised production). National tour produced by Grin and Tonic Theatre Company and The Queensland Theatre Company.
Ilbijerri Theatre Company. Tanderrum. Performed in Federation Square, Melbourne.
James, Andrea & the Ilbijerri Theatre Company. Coranderrk (Revised production with additional scenes). Performed by Ilbijerri Theatre Company. Victorian state tour.
Yirra Yaakin. Boodjar Kaatijin. Yirra Yaakin Theatre Company. School Tours in Western Australia.
2018:
Alberts, Jada. Brother’s Wreck. Malthouse Theatre, Melbourne. Toured nationally.
BigHART. New Roebourne Project. Iremugadu, Pilbara Region, WA. Project and performances.
Beckett, Katie and Ilbijerri Theatre Company. Which Way Home. Produced by Ilbijerri Theatre Company and Regional Arts Victoria. Victorian state tour.
Charles, Jack. Jack Charles Vs The Crown. Performed by the Ilbijerri Theatre Company. Performed on an international tour including at the Shizuoka Arts Theatre, Japan.
Ford, Matt & Simpson, Dane. Aborigi-LOL. Malthouse Theatre, Melbourne Ensemble Theatre, Sydney, NSW, Victoria.
Ilbijerri Theatre Company. Viral. Touring Victoria. This play used collaborative theatre processes including the First Nations practices of yarning circles and community workshops. It explores the impact and effect of hepatitis C on individuals and communities and helps to address the stigma and pathways to healing. It was performed in schools, First Nations' communities and prisons.
James, Zac & Yirra Yaakin Theatre Company. School Tours in Western Australia.
Lui, Nakkiah. Blackie Blackie Brown. Performed at the Sydney Theatre Company and Melbourne's Malthouse Theatre.
Michael, Ian & van Helten, Seanna. Hart. Produced and Toured by She Said Theatre Company and Regional Arts Victoria. Touring show. Victoria.
2019:
Atherden, Geoffrey & Enoch, Wesley. Black Cockatoo. Sydney Festival. Ensemble Theatre, Sydney, NSW.
Bangarra Dance Theatre. Knowledge Ground: 30 years of Sixty-five Thousand. Performed Carriageworks, Sydney. Toured nationally.
Blak MaMa: Five Plays in a Day. Indigenous Australian new play readings presented by La Mama Theatre at Grant Street Theatre including Maryann Sam's Coconut Woman, Jacob Boehme's Flashbacks, Drew Hayden Taylor's Cottagers and Indians, Glenn Shea's MiWi and Ellen van Neerven's Swim. La MaMa Theatre, Carlton, Victoria.
Briggs, Tony. The Sapphires. HIT Productions, Victorian Country Tour Revival. Victoria.
Chi, Jimmy & the Kuckles Band. Bran Nue Dae (30 year revival). Sydney Festival. Opera Australia. Riverside Theatre, Sydney, NSW.
Goodidja Productions. Kabarrijbi Wangkijbi Spectacular - Coming Together of Nations. Gregory, Far North QLD.
Quandamooka Festival. Minjerribah (North Stradbroke Island, QLD). Quandamooka peoples festival with dramas enacting stories of survival and the arrival of the whales.
Urban Theatre Project. Blak Box - Four Winds. Deep listening storytelling and performance project. Blacktown, NSW.
Wyatt, Meyne. City of Gold. SBW Stables Theatre, Sydney. Here is an extract performed on the ABC's Q+A program on June 8th 2020. It was watched live by about 500,000 people and shared on social media to over 3 million people.
2020
Black Ties. Written by Tainu Tukiwaho & John Harvey. Directed by Rachael Maza & Tainu Tukiwaho. Joint Maori and Indigenous Australian production produced by the Ilbijerri Theatre Company (Melbourne, Australia) & Te Rehia Theatre Company (Aotearoa, New Zealand) for the Sydney Festival. Other touring performances cancelled. Here is a trailer for the production.
Hecate. Adapted and directed by Kylie J Morrison (Kaarjiilba Kaardn). Subiaco Arts Centre. Presented by Yirra Yaakin Theatre Company in association with the Bell Shakespeare Company and the Perth Festival Commission. This adaptation of Shakespeare's Macbeth done in Noongar language.
In a world where the Noongar language is spoken by all, a yarn about a Scottish king is retold. This play is culmination of eight years of hard work by Kaarjiilba Kaardn in a process that included all nine cast members reclaiming their Noongar language in rehearsals. The vibrant performance uses cultural motifs and subtitles and intertitles. Here is an article which explores the strategies used in rehearsal of this production to support performers using endangered languages in play production. https://www.tandfonline.com/doi/full/10.1080/19443927.2021.1943506
From February 2020 until June 2020 live performances were cancelled in Australia due to the pandemic known as COVID-19. Many companies live video streamed productions. Here were some streamed.
Bangarra Dance Theatre, Terrain.
A promotion video of the Return to Country performances and workshops of this production was also released.
Here is a photo collection of costumes and designs from the same production.
James, Andrea. Sunshine Super Girl. Griffith Regional Theatre. Yarruwala Wiradjuri Festival. Griffith. August 2020. This theatre work by Yorta Yorta Gunnakurnai playwright Andrea James explores the life of the tennis champion, sporting legend and National Living Treasure Evonne Goolagong-Cawley. The play was mounted in consultation with the Wiradjuri community near Griffith on whose lands Evonne Goolagong-Cawley was born and on whose lands the play was premiered. It explores how a First nations girl from the bush who is supported by her community and family to overcome disadvantage, racism and privilege to rise to the highest level in elite sport.
Bedford, Kodie. Cursed. Belvoir Theatre, Sydney. Oct-Nov. 2020. This is the first play of Indigenous playwright Kodie Bedford of Djaru and Gija heritage who grew up in Geraldton, Western Australia. She is a graduate of the University of Western Australia and she has written for radio and television including the acclaimed television series 'Mystery Road'. 'Cursed' is a comedy which explores the nature of complex family relationships in a large interracial family as well as the nature of Australian racial prejudice. The play centres around Bernadette and her family and her return to Geraldton to comfort her "crazy white side" of her family upon the impending death of her grandmother. The fragility of Bernadette's family is revealed through the insane rituals and revelations at Nan's deathbed. Bernadette reflects on the madness of her family and a talk she prepared as a six year olds of the horrific events of the wreck of the Batavia where the shipwreck survivors descended into murderous madness. She wonders whether she and all her family are also going mad. Bernadette and her family must face their own demons and the inheritance of generational trauma and violent dispossession which are lasting legacies of Australian colonialization.
Some interesting articles about Indigenous Australian Drama appeared in 2020. Here are links to some of them:
2021
Yirramboi First Nations Arts Festival. May 2021, Melbourne. Festival Director - Caroline Martin (Boonwurrung & Wemba Wemba nations). Major Australian First Nations run festival. Some performing arts events which were part of this festival were A Fight for Survival by the Northlands Collective Mob which was an ensemble theatre piece exploring the 1992 landmark campaign by students and Bruce Foley to stop the closure of the Northland Secondary College through campaigning that the state government's decision to close the school was part of a series of acts of racial discrimination. Arterial by Na Djinang Circus was a circus performance using visual and acrobatic techniques to explore the ancient connections which tie different Australian First Nations people together through the horrific impact of colonisation. Bighouse Dreaming was essentially a one person show which explores the life and struggles of Chris, a young First Nations man with big dreams who must suffer the journey through the youth detention and judicial system to find his strengths in culture and hip hop music. This strong unflinching performance with hip hop music was performed and written by Arrernte writer-performer Declan Furber Gillick.
Bilya Kaatijin. Yirra Yaaakin Theatre Company. Written by Zac James. (School Touring show). The title of this play means 'fresh water knowledge'. This short piece explores the connection of fresh water to First Nations peoples from the Noongar nation (south-west Western Australia) to the Wonguktha nation (the northern Goldfields region) to Aotearoa (New Zealand) to the Kikuyu peoples of Kenya. Traditional stories and modern storytelling techniques are interwoven to explore stories such as those of Koya (the frog), Yaakan (the turtle) and Maali (the swan). The universal importance of story, place and water is explored strongly in this play.
https://www.facebook.com/YirraYaakinTheatreCompany/videos/bilya-kaatijin/637232796954805/
Dating Blak. Yirra Yaakin Theatre Company. Written by Narelle Thorne. Subiaco Arts Centre (Wandaraguttagurrup). This situation comedy drama follows Djinda (a divorced woman in her thirties) who wants to get back to dating. She is thwarted by her overprotective brother Marley. The play explores the challenges facing Indigenous women in their 30's as they try to move forward in their lives.
Parrwang Lifts the Sky. Victorian Opera & Short Black Opera. Written by Deborah Cheetham (Yorta Yorta). Arts Centre, Melbourne (Naarm). This opera is based on the Wadawurrung story of Parrwang (the magpie) who with the help of his human friends Tjatjarrang and Koki to raise the sky and lift the world out of darkness.
2022
Ilbijerri Theatre Company. Viral. Victoria. Film version of the 2018 play which used collaborative theatre processes including the First Nations practices of yarning circles and community workshops. It explores the impact and effect of hepatitis C on individuals and communities and helps to address the stigma and pathways to healing. It was originally performed in schools, First Nations' communities and prisons.
Wurukur Djuanduk Balag - Ancestors Are Calling. Lou Bennett (Yorta Yorta Dja Dja Wurrung Composer/Writer/Performer). May/June 2022. Rising Festival, Victoria. This is a song-based theatre performance which was written, composed and performed by Dr. Lou Bennett which uses multiple Australian First Nations Languages to explore the living culture of objects as inspired by Bennett's time spent with First Nation's objects in the Melbourne Museums collections. The performance explored how nothing is inanimate and the piece explores how notions of family go beyond the human. Ultimately, this piece is a call to arms for First Nations people to take objects from museums back to country and family.
The Return. John Harvey (Torres Strait Islander Writer). Directed by Jason Tamiru (Yorta Yorta). May/June 2022. Rising Festival, Malthouse Theatre Victoria. This play explores the ongoing struggles to repatriate First Nations remains. Using three narrative perspectives including those of a repatriation officer, a museum curator and a bone collector, the play is based on Tamiru's own work in this area. The play explores the over 250 year history of displacement of First Nations' human remains and the complexities of repatriation and restoring humanity and dignity to both the dead and the living. The play won the Victorian Premier's Literary Award Drama prize in 2023.
Dalara Williams was also announced by the Belvoir Theatre 2022 Balnaves Fellowship member. This is a foundation for an Aboriginal and Torres Strait Fellow position. She became a resident artist at the Belvoir for 18 months. Previous recipients have been Leah Purcell, Nakkiah Lui, Kodie Bedford and Nathan Maynard. Williams is a Gumbaynggirr and Wiradjuri woman who graduated from NIDA in 2017.
Party, Protest, Remember. (various First Nations artists including Angeline Penrith). November 12, 2022. Carriageworks, Sydney, NSW. Events and readings from plays including Merritt's The Cake Man (1972) and Bostock's Here Comes the Nigger (1976). Discussions about reforming a National Black Theatre, the Uluru Statement from the Heart and The Voice Referendum were also part of this event. Performances by Jannawi Dance Clan and Nana Miss Koori also featured along with weaving circles and other cultural events.
2023
Tracker. Ilbijerri Theatre Company, Australian Dance Theatre & Sydney Festival. January 2023. Carriageworks, Sydney. Written by Daniel Riley. This play explores the story of a young First Nations Australian man Archie trying to uncover the truth about his great-great uncle Alexander 'Tracker' Riley. It explores the complex life of Indigenous Australian trackers and what they sacrificed and went through.
Aboriginal All Stars. Adelaide Festival. February 2023. Melbourne International Comedy Festival. April 2023. Stand up comedy by Australian First Nations comedians hosted by Kevin Kropinyeri.
Goodbye Aunty Flo. Ilbijerri Theatre Company. Touring Production. March 2023. Written and Directed by Nazaree Dickerson. A comedy about mob for mob. It explores what family means and the ups and downs of females in First Nations communities especially around the time of menopause.
Oh My God I'm Black. Primrose Potter Salon, Melbourne Recital Centre, Melbourne. May 5, 2023. Devised by Maryanne Sam, Irine Vela and Patricia Cornelius. A musical about a young Torres Strait Islander woman's quest for belonging.
Waru. Bangarra Dance Theatre. Children's theatre production. Sydney. National tour in 2024. Under the skies of the Torres Strait, a green turtle navigates his way back home. The story is inspired by the totem stories of the green turtle. Winner of the best Children's theatre piece.
2024
Big Name Big Blanket. Ilbijerri Theatre Company. Touring Production. Premiered at the Sydney Festival January 2024 at the Sydney Theatre Company. Playwright - Andrea James. Story and Cultural Consultant Sammy Butcher (founding member of the Warumpi Band). Co-Directors - Dr Rachael Maza and Anyupa Butcher. Musical Director - Gary Watling. Starring Baykali Ganambarr (Sammy), Googoorrewon Knox (George), Teangi Knox (Gordon), Aaron McGrath (Brian) and Jackson Peele (Neil), this rock and roll theatre performance tells the story of the Australian First Nations band the Warumpi Band as told through the perspective of the Butcher Brothers. The band, one of the first to sing in both Australian First Nations languages and English was seminal both musically and in terms of cultural expression and 'black' voices with iconic songs like Jailanguru Pakurnu, My Island Home and Blackfella/Whitefella. The show weaves music, language, culture into a wonderful blanket of stories.
Waru. Bangarra Dance Theatre. Children's theatre production. Sydney. National tour in 2024. Under the skies of the Torres Strait, a green turtle navigates his way back home. The story is inspired by the totem stories of the green turtle.
2025
The Black Woman of Gippsland. Andrea James. Yirraamboi Festival, Southbank Theatre, VIC. The Black Woman of Gippsland by Yorta Yorta and Gunaikurnai theatre-maker Andrea James, reimagines a Victorian colonial myth through a contemporary First Nations lens, placing Indigenous voices at the centre. It follows Jacinta, a young academic drawn into the legend of a white woman said to have lived among the Gunaikurnai people in the 1840s, as her search for truth causes the past and present to collide. Through this journey, the play challenges the privileging of colonial myths over lived First Nations histories, explores intergenerational trauma, and confronts the ongoing impacts of colonisation today.
Blue. Written by Thomas Weatherall. Black Swan State Theatre Company, Perth, WA. A deeply moving solo play following Mark, a young Aboriginal man navigating grief, loss and mental health as he transitions into adulthood, with the narrative delivered in intimate monologue and symbolic staging. Through personal reflection and emotional honesty, the work addresses love, trauma and the complexity of processing pain and hope simultaneously.
Currents Beneath Skin. Written by Maddison Fraser & Harlisha Newie-Joe. Yellamundie Festival (Moogahlin/Carriageworks), Adelaide, SA. A new work pairing movement and storytelling to evoke the deep connection between body, land and culture, where the physical and emotional currents beneath the surface reveal histories of resilience and belonging. It explores identity, healing and the unseen forces that shape individual and collective First Nations lives.
Dear Son. Adapted by Isaac Drandic & John Harvey from Thomas Mayo’s book. Queensland Theatre / Belvoir Street Theatre (Sydney Festival). QLD & NSW. This ensemble piece brings together letters and reflections from First Nations fathers and sons, exploring intergenerational wisdom, love, resilience and the emotional complexity of Indigenous manhood in a poignant blend of humour, music and personal narrative. The play celebrates culture and family while addressing trauma, identity and the strength in vulnerability through heartfelt stories rooted in lived experience.
Diary of a City Blak. Written by Luke Currie-Richardson. Yellamundie Festival (Moogahlin/Carriageworks) Adelaide, SA. A multidisciplinary performance weaving dance, poetry, photography and spoken word to explore the experience of growing up Indigenous in the city, navigating visibility, cultural pressure and identity. The piece poignantly interrogates what it means to be “Blak” in urban spaces while maintaining cultural connection.
Imigo. Written by Jacob Boehme. Yellamundie Festival (Moogahlin/Carriageworks), Adelaide, SA. A theatre concert that traces the life of Michelle Tobin, an HIV-positive Yorta Yorta mother and advocate, blending music and storytelling to depict resilience, love and the ongoing challenges facing Aboriginal women in Australia. Through lived experience and song, it highlights perseverance in the face of health, social and cultural adversity.
The Lottery. Written by Waverley Stanley Jr. Yellamundie Festival (Moogahlin/Carriageworks), Adelaide, SA. This work, presented as one of the Yellamundie Festival’s new stories, uses dramatic form to engage questions of chance, community and the unpredictability of life through a First Peoples lens. It foregrounds personal and collective decision-making within contexts of tradition, opportunity and consequence.
Marrow. Created by Daniel Riley — Australian Dance Theatre (national tour). A visceral dance-theatre work sparked by the aftermath of the 2023 Voice referendum that uses movement, smoke, sound and ensemble choreography to explore cultural identity, frustration, collective healing and visions for Australia’s shared future. It channels national unease and hope through expressive performance grounded in First Nations perspectives and collaboration with Elders and composers.
The Steps of The Mighty by H Lawrence Sumner for the Yellamundie Festival (Moogahlin and Carriageworks), Adelaide, SA. This work evokes memory and aspiration through the story of an elder in a nursing home who instils hope in her children by retelling the achievements of remarkable Aboriginal runners. It reflects themes of legacy, family connection and how personal histories carry meaning across generations.
Warriwal ~ Milky Way. Written by Jo Clancy & Stuart McMinn. Yellamundie Festival (Moogahlin/Carriageworks), Adelaide, SA. A dance theatre work that revives ancestral languages and knowledge through movements connected to the night sky’s Milky Way, embodying cultural continuity and spirit. It celebrates ancestral song, dance and the enduring presence of Country as a source of identity and memory.
White Fella, Yella Tree. Dylan van den Berg. Griffin Theatre Company, NSW. This play explores identity, youth and first love. This play explores colonisation and what is is to be a storyteller or keeper of knowledge.
