Five plays from around the country that illustrate the rich tradition of Indigenous storytelling as it flourishes in contemporary theatre.
‘Each play is a durable, resilient stone that both builds upon Indigenous traditions but also lays the foundation for the generations that will follow.’ — Professor Larissa Behrendt, from her introduction.
Bitin’ Back by Vivienne Cleven is adapted from her award-winning novel of the same name. ‘This is a zany and uproarious black farce’ — National Indigenous Times
Black Medea by Wesley Enoch is a richly poetic adaptation of Euripides’ Medea that blends the cultures of Ancient Greek and indigenous storytelling to weave a bold and breathtaking commentary on contemporary experience.
King Hit by David Milroy and Geoffrey Narkle strikes at the very heart of the Stolen Generations, exploring the impact on an individual and a culture when relationships are brutally broken.
Rainbow’s End by Jane Harrison is set in the 1950s on the fringe of a country town. This is a thought-provoking and emotionally powerful snapshot of a Koori family that dramatises the struggle for decent housing, meaningful education, jobs and community acceptance.
Windmill Baby by David Milroy: Set on an abandoned cattle station in the Kimberley landscape, this one-woman play combines the poetry of a campfire story with the comedy of a great yarn.
To listen to Jane Harrison talking about her play Rainbow’s End, in Currency’s Not in Print Podcast series, click here.
