At What Cost?

The wrenching backstory to Nathan Maynard’s new play is the genocide and exile of so many Tasmanian Aboriginals. 

It certainly haunts Palawa man Boyd (Luke Carroll), but for now he’s happy, on country, a leader to his people, and a rock to his irrepressible, pregnant wife (Sandy Greenwood). 

Ari Maza Long plays his cocky young cousin, Daniel, who is finally being accepted by the local mob.  The opening bawdy banter between the three is a delight – such a familiar signature of good Indigenous theatre.  

Boyd is preparing for the return of his Palawa ancestor – remains once stolen by an overseas museum – and from the whitened boughs spread around Jacob Nash’s open set, he slowly builds the fireplace, which will launch his ancestor to the bright stars overhead.

Then a fiery redheaded student (Alex Malone) arrives. Gracie seduces an eager Daniel, before parading her dubious claim that she is Palawa, and demanding a place at “her” ancestor’s memorial.

Boyd reacts with epileptic anger, and Carroll is riveting at this final colonial insult, this theft of his identity.  His pain dominates this politically charged production (well-directed by Isaac Drandic), a powerful story but more of righteous anger than introspection.  

Gracie is quickly demonised; bleating at the end that she too should have the chance at belonging. 

But what really motivates false or unproveable claimants, “the-tick-a-boxes” as Boyd calls them, are only briefly noted.  Sadly, these disputes of Aboriginal identity and ownership remain a legacy from Tasmania’s near genocide. An even deeper story remains to be told.  

Martin Portus

Photographer: Brett Boardman