We acknowledge the traditional custodians of the land that we perform on today Haileybury’ Naarm campuses sit on lands of the Wurundjeri, Wor Wurrung and Bunurong People.
FOREWORD TO WAS AND WILL BE PLAYSCRIPT
Stories make us human and First Nations people have used stories to impart culture, language and knowledge for millennia. Stories are to be shared and they help us engender empathy and understanding. When we delve into stories our shared humanity comes to the fore. As First Nations people we are unique but as humans we can share emotions, beliefs, and values. These talented and generous storytellers have created scenes that allow you to walk in our shoes for a moment in time and to embody these narratives. This is a rare and special opportunity and a gift that will inform you for a lifetime. Use this material with respect but also give yourselves permission to explore, experiment and connect.
JANE HARRISON PLAYWRIGHT (MURUWARI)
THE DEVELOPMENT
The development of this project was inspired by discussions that arose during a Drama Victoria conference, particularly following a workshop based on the document “Teaching First Nations Content and Concepts” by Kamala Bell-Wykes et al. This document provided a foundational framework for integrating First Nations perspectives into educational practices, which guided the exploration of how schools could produce plays that support First Nations playwrights, are adaptable to various casting sizes and year levels, and engage with local Victorian stories.
This project aimed to create plays that could be performed with both
small and large budgets, suitable for full productions or scene studies, and applicable for both theatre/drama classes and major school productions. Importantly, the plays were designed to allow participation from both non-Indigenous and Indigenous actors, without prescription, fostering inclusivity and cultural sensitivity.
To bring this concept to life, I reached out to a network of playwrights and three playwrights with the requisite time, experience, and passion for the project came on board. We secured a vital grant from Frankston City Council, providing seed funding for the development of this work.
The scenes were written as Open Scripts, with no specific character names or detailed stage directions, allowing them to be interpreted as monologues, duologues, scenes or ensemble pieces.
Throughout the process, we adhered to community guidelines for performing First Nations theatre, ensuring cultural respect and authenticity.
Esteemed playwright Jane Harrison reviewed the scripts and contributed a foreword, further endorsing the project. You can read that above. The outcome is a versatile script that
serves as both a teaching resource and a stage play, designed to help educators and creatives engage with First Nations stories. The scripts are intended to be accessible to all students, celebrating Victorian First Nations people, art, songs, memories, and places through a series of 25 original scenes that balance humour with depth.
Being part of this project has been an enriching experience, allowing us to create something that not only entertains but also educates and honours the cultural heritage of Victoria’s First Nations communities.
THE ARTISTS
BRODIE MURRAY, a proud Wamba Wamba and Ngarrindjeri man, is a playwright and performer committed to sharing the survival stories of Victorian Aboriginal communities. His plays, such as “Soul of Possum” and “Billy’s Choice,” have garnered multiple awards, including the Melbourne Fringe Best Emerging Indigenous Artist Award. Murray’s contributions to the arts have been further recognized with several other prestigious awards, highlighting his significant impact on the Australian theatre scene.
TOM MOLYNEUX, a Gunditjmara man, is a versatile creative professional based in Geelong, renowned for his compelling performances that delve deeply into Indigenous narratives. His critically acclaimed solo show, “The Mission,” explores the true story of his great-great-uncle, Allan McDonald, an Aboriginal soldier in World War I. This powerful work earned him the Green Room Award for Best Performer (Independent Theatre) in 2023, cementing his reputation as a significant voice in Australian theatre. Beyond the stage, Molyneux actively engages in community arts projects, aiming to bring Indigenous stories to broader audiences and foster greater understanding of the rich cultural history of Aboriginal Australia.
TRACEY RIGNEY, a Wotjobaluk and Ngarrindjeri woman, is an acclaimed storyteller, playwright, and filmmaker whose work is deeply rooted in her cultural heritage. Her diverse portfolio spans both theatre and film, with her play “Belonging” and the documentary “Endangered” standing out as particularly impactful pieces. “Belonging” explores themes of identity, connection to country, and the struggles of Indigenous Australians, while “Endangered,” which was recognised at the Melbourne International Film Festival, sheds light on the environmental challenges faced by Indigenous communities. Rigney’s work is celebrated not only for its artistic excellence but also for its commitment to preserving and sharing the stories of her people, making her a prominent figure in the Australian arts scene.
THE PROJECT
This anthology was conceived and coordinated by Nick Waxman who provided additional creative resources for the work. Nick is a writer, researcher, educator and performer from Naarm. Nick would like to thank these artists for their generous contributions to this work.
Thank you to Frankston City Council, Heide Irvine, Jane Harrison, Glenn Shea, Anthony Crowley, Dr Danielle Hradsky, Kelly McConville, Andrew Byrne, Haileybury College, Steven Parker, Andrew Thompson, Emma Waxman and Drama Victoria for their support of this project.
Following respectful cultural protocols when preforming First Nations work below you will find the cultural background of our cast as defined by each individual.
STUDENT CAST & CREW
Aadita Singh Central Indian, Australian
Alexander Zhang Chinese (Tianjin, Shandong), Australian (1st gen)
Alexis King Filipino, Chinese, Australian
Alice Guille Australian, Channel Islands, French, Scottish and Irish
Alice Taberner Australian, Irish, Scottish, British
Amelie Smith Australian
Angel Li Chinese, Australian
Antara Afra Bangladeshi, Australian
Arabella Walker
Scottish, English, and 3rd Gen Czech immigrant, Australian
Archie Baker English-Australian
Benjamin Zerafa Maltese, Scottish, Kiwi, South African (Distant)
Braya Jade Hanssen
Australian
Charli Cowan
Australian, Egyptian, Polish, Ukranian
Danny Makia Arabic, Australian
Delta Ly Vietnamese / Chinese, Australian
Ella Wang Chinese, Australian
Emily Newman English, Australian
Emmy McBride Irish, Australian
Freya Haupt Australian, German/ European
Gilda Verner
English and Eastern European, Australian
Grace Wakeling
Australian
Hamish Peatman
Scottish, English, First Fleet Convict, Australian
Holly Allen English, Australian
Keira Melnikov Russian, Australian
Keshav Krish Indian - Hindu, Australian
Kiara Gadd Aboriginal, Australian
Lia Adams Australian Lucy Gibson Australian
Luca Moutsos Australian, Greek
Milana Kumykova Russian and firstgeneration Australian
Olivia Papov German and Slovakian, Australian
Ragha Victor Sri Lankan and firstgeneration Australian
Riley Zhao Chinese, Australian
Roshni Sinha Indian, Australian
Ruby Molnar
Maltese, Hungarian, Australian
Rungano Goverwa ZimbabweanAustralian
Ryan De Cruze Sri Lanken, Australian
Sahana Rajarajan Sri Lankan, Malaysian
Samuel Licciardino Latin American (Venezuela, Brazil), Sicilian, Australian
Serina Ly Cambodian, Chinese (Guangdong region), 1st gen Australian (Queensland)
Simon (Yunong) Liu Chinese, Australian
Suriya Rajarajan Sri Lankan, Malaysian
Taylor Warburton Irish, Scottish, English, Australian
Tea Hanks
British, American, Australian
Tina Makia Arabic, Australian
Ti Ti Hoang Vietnamese, Australian
Xing Li Chinese, Australian
Zac Letts Greek, Australian
CREATIVE TEAM
Writers
Tracey Rigney, Brodie Murray and Tom Molyneux
Developed by Nick Waxman
Yidaki / Didgeridoo Ron Murray
Creative Directors
Nicole Smith, Candice Anderson, Emma Maggio and Nick Waxman
Lighting and Projection Design
Nicole Smith, Matthew Sanderson and BAAC lights w/ Nick Waxman
Sound Design
Nicole Smith w/ Erica D’Angelo
Set Design
Nick Waxman, Nicole Smith, Candice Anderson, Emma Maggio w/ Christina Logan-Bell
Costume Design
Nicole Smith and Kelly Shang
Stage Managers
Ti-Ti Hoang and Keshav Krish
Original Music
‘Fan (Stan)’ words by Tracey Rigney
Created by Ruby Molnar w/ Alexis King, Samuel Licciardino and Luca Moustos
‘Elders Eyes’ words by Tom Molyneux
Created by Zuva Gowerwa and Ngano Gowerwa
*these Open Scenes were not written as songs, but interpreted by the artists above.
Students in this cast had a great deal of creative input including choreography, blocking, concepts, music and more.
Photography
Jacob McCormack
Tickets and Administration
Roslyn Rodgers
Transport
Karen Fitzharris
Set elements created by Mark Gardiner
Projection Installation, Designs and Artwork
BAAC Light Production
Poster Artwork
Steven Parker
Poster and Program
Andrew Thomson
Thanks to Haileybury Marketing Team and Emma Goldsworthy
This play was made possible by the support of Frankston City Council Arts Grants
DIRECTORS NOTE
It is an absolute honour to present the premiere of this production, which underscores the profound ability of drama to tell stories, educate, transform minds, and celebrate culture. At its finest, theatre illuminates the complexities of the human experience, and this production stands as a powerful testament to that transformative potential.
The set design reflects the essence of the earth, drawing inspiration from the natural forms of lava tubes and monoliths that rise organically from the ground. These elements capture the raw energy and beauty of the land, abstractly representing nature without direct imitation. The towering structure, like a monolith a emerging from the earth, symbolize the ancient and enduring presence of the land itself.
The set also features a suspended ovoid, which serves as a dynamic canvas for immersive projections. These projections, enhanced by live sound design; the resonant tones of the yidaki (didgeridoo), and original music, deepen the audience’s connection to the stories being told.
The soundscape is meticulously crafted to echo the themes of the production, creating an auditory experience that is as immersive and evocative as the visual elements and stories.
The costumes, in red, yellow, and black, are intentionally chosen to represent the colours of the Aboriginal flag, grounding the production in a strong cultural identity and paying homage to the deep significance of these colours in the context of First Nations culture.
Exploring the flexibility of the scenes has been a true delight, allowing for creative freedom and innovation in the storytelling process. Working with this cast has been nothing short of extraordinary; their dedication, creativity, and passion have brought this vision to life in ways that exceed all expectations. This production is more than just a play—it is an experience
that invites the audience to engage with the stories and ideas on multiple sensory levels, reflecting the depth and richness of the culture it honours.
The freedom to blend stillness and silence with vibrant movement, realism with surrealism, satire with meta-theatre, has been a joy. Our team of directors has crafted a diverse range of scenes, skits, monologues, dances, songs, and experiences that highlight the versatility of this remarkable script.
We extend our deepest gratitude to the playwrights for entrusting us with their work, and for sharing their unique perspectives on culture, life, and so much more.
THE DIRECTORIAL TEAM
NICOLE SMITH, NICK WAXMAN, EMMA MAGGIO & CANDICE ANDERSON