A new work by revered Australian playwright Jane Harrison (The Visitors, Stolen) is always one to be celebrated. Her works tackle and investigate both the past and present existence of First Nations communities, weaving a contemporary lens through which she aims to reconcile, teach and honour.
The newest Sydney Theatre Company-commissioned work, Bennelong in London, is no different. Here, Harrison dissects the historical narrative of Woollarawarre Bennelong, a man who found himself in an unprecedented moment in history.
At the centre of the work is a complex individual whose historical narrative has been documented by the colonisers and whose history can only truly be known by his actions. This is a play that is ultimately a conversation between generations, focusing on identity, representation and the responsibility that comes with one’s story.
What is the premise of Bennelong in London?
Sebastian (Guy Simon – Stolen, Holding the Man) is a contemporary First Nations actor preparing to audition for the role of Woollarawarre Bennelong (Googoorewon Knox – Hamilton) in an unnamed project. It’s clear from the outset that he can’t quite get a grip on the portrayal of one of the most significant figures in the early years of invasion as he shoots numerous takes on a precariously propped phone.
Harrison’s plot takes no time in getting to the crunch – after an offhand plea to summon the spirit of Bennelong for help, Sebastian gets what he asks for in the form of the figure himself. From here, Bennelong retraces his life with Sebastian in the hopes that he is not portrayed as a two-dimensional character, but understood as a human being with all of his flaws, as well as his extraordinary place in history.
Who are the cast and crew of Bennelong in London?
Ian Michael directs Bennelong in London with swiftness and a deft vision. It’s without grandeur, but nor is it without significant depth. Michael’s ability to develop a believable bond between characters in a script that is a duologue in nature (shown in the success of Griffin Theatre Company’s Sistren) is on full display here. Between Simon and Knox, the interplay of generations ebbs and flows as the pair wrestle with competing versions of Bennelong’s history. Revolving around the piece is the sometimes tangible question of what it means to honour a legacy built by the invader, one that lives on in a colony that survives from the destruction of your own.
Almost in contrast to this rich foundation, Harrison’s work is also bitingly funny. It’s also surprisingly theatrically meta. There’s a hefty amount of jokes thrown at performance industries (NIDA gets a good ribbing), Bennelong bursts in outrage as he learns that a black performer can play a white character but not the other way around, commentary is made about the palatable theatre of First Nations story for a larger audience – Harrison is still able to deliver plenty of surprises in her writing.
Emma White’s design is immaculately realised in a simple beige apartment with long, drying tufts of grass reaching out of the ground, while Trent Suidgeest’s lighting design spotlights moments in conversation where Sebastian takes on secondary characters in Bennelong’s story. The blending of worlds bleeds into the set to transport us back and forth in imaginary space throughout Sebastian and Bennelong’s conversation.
Where Bennelong in London suffers is that a lot of the richer ideas in Harrison’s work feel undercooked. The team wants to grapple with Bennelong’s history, wrestling with what’s been left off the record, challenging stereotypes of masculinity and survival, but it can get lost in the setup. It isn't quite able to establish the audience's buy-in from the outset, and the text has to ultimately work harder to earn it.
What is a highlight of Bennelong in London?
The third act of Bennelong in London is where the show truly earns its stars. Suidgeest’s lighting takes a rich, earthy tone as James Peter Brown’s sound design drums up a humming bass layered with traditional dance as Sebastian shifts into his fully realised portrayal of Bennelong.
It’s a powerful finale that bridges the gap between past and present, delivering a gripping celebration of culture.
Who will like Bennelong in London?
While it may take a moment to fully ignite, Bennelong in London is a bold, vital, and deeply resonant work. Both funny and searing, Jane Harrison’s latest is another essential piece of First Nations theatre led by Ian Michael’s steadfast direction. A slightly flawed but undeniably powerful reflection on legacy and storytelling.
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