Was and Will Be Digital Program

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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.

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

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