The Season

“I have always had such a sense of pride in our community and wanted to create a story that not only our mob could see themselves in …”. Nathan Maynard has certainly achieved that in this very natural and moving play about the importance of family, traditions, trust and the strength that comes from belonging. It embodies Maynard’s tribute to “the ole coes that weren’t lucky enough to witness the respect our people are receiving for surviving - a survival that was only possible due to their strength and pride that didn’t wane even in our people’s darkest times.”

The Season brings together a cast of skilled indigenous actors in a play that sees the extended Duncan family returning to Dog Island, somewhere off the coast of Tasmania, for the six-week mutton bird season. As with any family gathering, they bring with them some secrets, some resentments as well as the strength that ‘belonging’ brings. And that indefinable energy and humour that empowers indigenous theatre.

Maitland Schnaars and Della Rae Morrison are Ben and Stella Duncan, the respected elders who are the glue that binds the family. It is they who settle petty disputes and calm tempers. Nazaree Dickerson plays their daughter Lou and James Slee her son, Clay. Lou has returned for the first time in some years – and it is Clay’s first season on the island. The fact that his ‘whitefellah’ father has not yet arrived is one of the ‘secrets’ that endows the plot. It also leads to one of the satirically funny moments of the play, which is handled with consummate skill by Liza Maza.

Maza plays the role Aunty Marlene, who is bright, brazen and full of life. This is a fine vehicle for Maza, whose vast experience injects the role – and the production – with extra verve and vivacity.

Trevor Jamieson plays two roles. One is the island ranger who zealously enforces the mutton bird hunting regulations. The other is the family ‘bad penny’ Neil, who has been having an extra marital affair with Marlene. Their scene together is one of the humorous highlights of the play.

The isolation and terrain of the island is realised on a raked stage designed Richard Roberts, with a stretched fabric ‘sky’ that takes the scenes from day to night via lighting designed by Rachel Burke and realised by Simon Rush. The sound of mutton birds calling brings verisimilitude, as does one memorable scene where lighting, sound and choreography cleverly combine to create the noise, fear and frenzy of a bush fire.

The power of patient pride, enduring attachment and droll wit pervade this production. It could be any family gathering – but in reality it is unique because of Maynard has written  something that can “heal some of the deep bruising that they (his people)have endured simply by existing.”

Carol Wimmer

Photographer: Robert Catto.