It’s a truth universally acknowledged that women, regardless of race, age or social class, need other women. Throughout history and across various cultures, women have discovered solace, support and resilience in their connection with each other. Those who have experienced the power of a strong female friendship will understand the unique fulfilment that this type of companionship can provide – distinct from a romantic relationship – and that the pain of a friendship loss can sometimes surpass that of a romantic break up.
The bond among women is so profoundly rooted in our collective history that it's unsurprising that one of the oldest continuing cultures in the world, that of the First Nations people of Australia, has a designated name for it. Tidda (pronounced “Ti-da”), is an Aboriginal word for ‘sisters’ that describes a sense of sisterhood amongst all women. Aboriginal author and playwright Anita Heiss brings the word to life in her play Tiddas, based on her novel of the same name, which is playing at Belvoir St Theatre as part of Sydney Festival’s Blak Out program.
There was resounding laughter abound on opening night, the sound of being seen.
The play follows five tiddas who grew up together in Mudgee, and now live in different parts of “Brisvegas”. Nadine is a successful author who is just about to buy a Queenslander with her husband; Izzy is going to be the first Blak woman with her own TV show, “Australia’s Oprah”; Xanthe is happily married but struggling to fall pregnant; Ellen is a freedom-seeker that can’t be tied down; and Veronica is “finding herself again” after a nasty divorce. Once a month, they meet for a book club to drink wine, talk about what they’re going through, and (very occasionally) what they thought of this month's novel.
Adapting a book for the stage is a hefty task. On the page, Heiss writes self-aware, deeply complex characters that face the unique challenge of having to be mothers, daughters, wives, friends and – for three of the five – matriarchs or custodians of their Aboriginal culture. The mistake in Heiss’s adaptation of her own work is that it's too literal. Scenes play out exactly as the dialogue in the book, but this approach leaves out the rich inner monologues of each character. What results are tumbling revelations and surface-level characters that seem to be riding emotional waves that the audience can’t see.
There are things that Heiss does well – one-liners for one, particularly those delivered with excellent timing by the charming Perry Mooney. The play is also filled with spot-on references to Brisbane and to the experience of Wiradyuri women. There was resounding laughter abound on opening night, the sound of being seen.
Updates have been made that build on discussions of Aboriginality, acknowledging a post-referendum Australia, which gracefully opens the door for contemplation. However, the production doesn’t sit in the discomfort of its arguments for long enough to really engage with the hefty topics it tries to tackle. Issues are raised and swiftly resolved.
Co-directors Roxanne Mcdonald and Nadine McDonald-Dowd have worked with designer Zoe Rouse to create an elaborate, striking set with bookshelves lining Belvoir’s corner stage. It's inviting and aided by vibrant and colourful costumes, which aptly reflect each character's personality. The set’s nifty nooks and cosy corners are however underutilised, as a majority of the play is delivered in the front half of the stage. Lighting by Jason Glenwright illuminates the characters as we need to see them, leaning heavily on the carefully crafted set to play with shadow. Sound designer and composer Wil Hughes has curated and incorporated music by Aboriginal artists that pull and shape the show's emotional notes – a gut-wrenching acapella version of ‘Amazing Grace’ is poetically featured in the show's solemn depiction of grief.
The cast has a palpable chemistry, the scenes where the banter flows easily between them are entertaining, as if this group are true friends. Mooney is the most at ease in her character's skin, and delivers a memorable performance with the material she has. Roxanne McDonald also gives a subtle, lived-in performance of the matriarch. She could be everyone’s mum.
The rest of the cast haven’t quite settled into their characters yet, but will likely find ease as the season progresses. On opening night, co-director Nadine McDonald-Dowd stepped in to play the role of the character Nadine in place of Louise Brehmer (Covid strikes again) and was confident and believable in her performance, script in hand.
There is something for everyone in Tiddas – these women are your friends, your mum, your sisters, they’re you. They are facing the same challenges we all face, trying to figure out who we are in a complex world. If you’re still searching for answers, maybe you will find some here – at the least, you’ll have a laugh.
Tiddas is playing a strictly limited season until Jan 24. At 90 minutes (with no interval), this is a short and sweet must see of summer theatre. Snap up tickets for $39-$95 over here.
