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The recent production of Jane Harrison’s play “Bennelong” at Sydney Theatre Company (STC) has sparked a much-needed conversation about the complexities of colonial history and its ongoing impact on Indigenous Australians. At first glance, the play may seem like a straightforward tale of cultural exchange between Bennelong, an Aboriginal man who traveled to Europe with Governor Arthur Phillip in 1788. However, as the narrative unfolds, it becomes clear that this is no simple story.
The play’s use of meta-theatre brings the past and present into dialogue by having a young actor audition for the role of Bennelong in London. This clever framework allows Harrison to explore how colonial history continues to shape our understanding of Indigenous culture. The use of skins and paint as a time-traveling device is a powerful metaphor for the way in which colonialism has erased Indigenous experiences from the historical record.
As the young actor navigates Bennelong’s story, the audience confronts the darker aspects of Australian history. The play does not shy away from the brutal realities of kidnapping, brutality, and smallpox that devastated Indigenous communities. Harrison raises important questions about the responsibility of passing on knowledge and the complexities of Black masculinity in a colonial context.
The production’s sound design is equally striking, with composer James Peter Brown’s score unfolding from barely audible whispers to haunting resonance. This sonic landscape complements Googoorewon Knox’s powerful performance as Bennelong, bringing depth and emotional range to the role.
What this play means for Australian theatre is significant. As a country, we have long struggled to come to terms with our colonial past. Harrison’s play offers a much-needed opportunity for Indigenous voices to be centered on stage, challenging dominant narratives of Australian history. The success of “Bennelong” at STC marks an important step towards greater diversity and inclusivity in Australian theatre.
However, it also raises questions about the role of white actors in playing Indigenous roles. While Guy Simon’s performance as the young actor is nuanced and thoughtful, one cannot help but wonder whether this is an opportunity for Indigenous actors to take center stage. This is not a criticism of Simon’s performance, which is outstanding in its own right, but rather a reminder that representation matters.
As we continue to grapple with the complexities of colonial history, plays like “Bennelong” offer a powerful reminder of the importance of listening to Indigenous voices and challenging dominant narratives. With Harrison’s latest production, STC has once again proven itself as a leader in promoting Indigenous storytelling and representation on stage.
The success of “Bennelong” at STC is a testament to the power of storytelling to shape our understanding of ourselves and our place in the world.
Reader Views
- TAThe Archive Desk · editorial
While Jane Harrison's "Bennelong" is certainly a thought-provoking play, we can't forget that its portrayal of Indigenous experiences is ultimately filtered through a white lens. The use of meta-theatre and a young actor's audition as a framing device cleverly subverts expectations, but it also risks reinforcing the notion that Indigenous voices are best represented by outsiders. What's missing from this conversation is a more nuanced exploration of how decolonization can be achieved within Australia's theatre institutions themselves – not just through representation, but through actual power-sharing and policy reform.
- HVHenry V. · history buff
While Jane Harrison's "Bennelong" rightly shines a light on the dark chapters of Australian colonial history, it's also crucial to acknowledge the limitations of historical dramatization in capturing the complexity and nuance of Indigenous experiences. By relying on a narrative framework that centers a young non-Indigenous actor's interpretation of Bennelong's story, the play risks reinforcing the very power dynamics it seeks to subvert. A more impactful approach might involve incorporating actual oral histories or written accounts from Aboriginal sources, thereby centering their voices and agency in the telling of their own history.
- ILIris L. · curator
While "Bennelong" is undeniably a groundbreaking production, its impact relies heavily on the context in which it's performed. The article mentions Sydney Theatre Company but fails to acknowledge the significance of venues and programs that specifically support Indigenous-led productions. Such spaces provide crucial opportunities for nuanced storytelling and reconciliation, often withstanding intense scrutiny and controversy. How these productions are received and supported by mainstream institutions will be a crucial factor in determining their lasting impact on Australian theatre and society at large.