Dear Son | Queensland Theatre
All images: David Kelly
Letters and reflections from First Nations fathers and sons.
What does it mean for a Blak man to allow himself to be vulnerable?
To really indulge in ‘talk talk’?
As was befitting, the traditional ‘welcome to country’ heralded the world premiere and official opening of Dear Son, adapted for the stage by Isaac Drandic and John Harvey, and based on the book by Thomas Mayo.
Naysayers aside and in accordance with this well loved ceremony, theatre goers were warmly welcomed on this bitterly cold night in Meanjin with a smoking ceremony accompanied by the rhythmic sounds of the didgeridoo, clapsticks and soulful singing in language.
A heartfelt brief speech followed.
Under the keen eye of director and Noonga man Isaac Drandic, renowned Blak actors Jimi Bani, Trevor Jamieson, Kirk Page, Aaron Pedersen and Waangenga Blanco took to the stage in an unflinching 90-minute electrifying theatre production to explore this emotionally charged theme.
These five Blak men gathered in a rustic traditional setting—a backyard BBQ designed by Kevin O’Brien—to share food, spend time together in a safe space, and retell a collection of stories based on real letters written by real First Nations fathers and sons.
Eye-catching video projections by Craig Wilkinson introduced the audience to the separate themes of the letters: Letters of Longing, Letters of Love, and Letters of Loss. Each letter theme was underscored by the retelling of letters relating to the specific thread. The five gifted storytellers embodied the retelling of each letter by digging deep into their very own personal reflections, lived experiences and memories.
In Letters of Longing, the storytellers reflected on love and admiration, missed chances and personal failings, cultural memories, and rites of passage.
Letters of Loss delved into the acceptance of being gay, the Stolen Generation, systemic racism and abuse. In the finale, Letters of Love, the storytellers revealed their real names and expressed their genuine hopes and dreams for their own sons, daughters and grandchildren.
The profound dialogue flowed seamlessly, making it all the more evocative as the seasoned actors embraced with vigour and enthusiasm their own multiple role playing. Impressive is an understatement! But amid all this seriousness and deep-seated emotions, wit and humour still prevailed, overseen by happiness consultant, Vinnie Pedersen. In particular, the bicycle and car scenes spring to mind here, as these solicited unrestrained amusement and hearty laughter from the audience.
All images: David Kelly
Wilkinson’s additional video projections increased the emotional depth of the production by displaying derogatory slurs and racist slogans, not only on the screen in the background but across the entire set design. These projections were effective enough to conjure up this reviewer’s bitter memories of apartheid South Africa where slurs like these, directed at brown and black people, were the norm.
Utilising the flowing sound design by composer Wil Hughes, Waangenga Blanco directed the smooth movements and captivating choreography according to tradition—a very nice touch subtle touch that managed to soften the intensity of the roller coaster emotions being played out on the stage and also reinforced the actors’ natural talent for dance.
Costumes by Delvene Cockatoo-Collins were kept simple and versatile. Adding a layer or removing an item of clothing effectively influenced the mood being played out on the stage. Bani’s apron which read ‘You are flippin’ awesome Dad’ was a bittersweet touch.
In a world where toxic masculinity and domestic violence have ripped families apart and fractured family relationships, Dear Son amplifies a long overdue need for change. Change that should allow a Blak man the rite of a safe passage to talk openly and honestly about what’s really going on inside himself. But more urgently, to heal the painful damage of the past.
It takes not only artistic courage, but emotional and cultural courage to bare your soul on a stage in front of an audience of strangers. The combined raw, visceral performances of Bani, Jamieson, Page, Pedersen and Blanco are testament to that courage. Indeed, they were brave enough to share under public scrutiny what it means to be vulnerable, coupled with the sincere complexities of love experienced amongst their fellow Blak men.
Tumultuous emotions aside, what unfolded on that stage was nothing short of empowering—to witness the unwavering tenacity and resilience portrayed by these five gifted Blak actors who proudly brought to life these important letters with their moving declarations of connection to land and legacy.
As with the magic of theatre and on that night, the soaring voices of some of the most prominent Blak actors hailing from the oldest living culture in the world reverberated (with intent) throughout the theatre space and reclaimed what always was, always will be…
Dear Son plays at Queensland Theatre’s Bille Brown Theatre from 28 June-19 July 2025.
