The Secret River

The stage adaptation of Kate Grenville’s novel The Secret River by Andrew Bovell, and directed by Neil Armfield, is one of the highlights of this year’s Adelaide Festival; this made even more so by the fact that this is a new production of this very successful play in that it is being staged in the open air at the Anstey Hill Quarry.

I had not read the book, nor had seen previous productions, so this was a whole new experience for me, as well, I assume, for many in the audience.

It is in my opinion one of the very best productions of an Australian play I have ever seen. I was completely transfixed, challenged, thrilled and extremely moved.

The ensemble of actors, led by Nathaniel Dean and Ningalli Lawford Wolf are all simply superb. And what a cast, which includes indigenous and Caucasian actors telling a tale simply and effectively, allowing the subject matter and the drama to take precedence.  

This is a tale set in the early colonial era in the Hawksberry River region dealing with ‘white’ / ‘black’ relationship. It is not a pretty tale – it is quite tragic. The climax involves a massacre of an indigenous tribe. What is at stake here is the ownership of land, and the human cost is devastating. 

There are so many highlights to consider; for example, the end of the first Act which comprises of the white settlers singing an old English hymn surrounded by the local indigenous tribe dancing and singing, with their shadows cast on the giant cliff face that forms the backdrop for all the action of the production. It is theatre magic at its very best.

The actual massacre is also staged beautifully and simply.

It is, however, the ending that I found truly devastating.  As Nathaniel Dean’s character, William Thornhill, begins to plant fence posts up-stage, the tribal warrior who had survived the massacre, Jack (played by Shaka Cook), sits silently downstage. As each post goes in, the light fades slowly on Jack. It is a slow descent into darkness, not only for the characters and the dramatic narrative, but also for the audience. It is extremely effective and profound.

Subsequently, one didn’t necessarily feel like applauding, the ending being so successfully moving. However, the applause did come, resulting in a thoroughly deserved standing ovation. 

I cannot recommend this production highly enough and congratulate all who are involved. This is a show that one can honestly say, if you haven’t already got a ticket then beg, borrow, or steal one – do not miss it!

Tony Knight

PREVIEW AND READ THE SCRIPT HERE.

Photographer: Shane Reid