At George Fairfax Studio, Melbourne Arts Centre in October-November 1994
Reviewer: Kate Herbert on 14 October 1994
This review was published in the Melbourne Times after 14 October 1994
Sistergirl by Sally Morgan comes to MTC from the Black Swan Theatre which is an aboriginal theatre company from Perth. Rosy Snow, an old Koori woman, is dying in a hospital ward with only Molly, a naughty gin-drinking Irishwoman (Faith Clayton), for company.
The script flashes from the drying-out ward where she is visited by her sister (Dot Collard) and friend Tommy (Jack Charles), to her dreams and Dreamtime where she is visited by her dead child, the Aboriginal Protector at the Mission who took her child from her and the Bird Man who comes to test her, seduce her and take her to the spirit world.
The most potent moments were the visits of the Bird Man (Djunawong Stanley Mirindo). The atmosphere was charged and the production cried out for these scenes to be extended.
Other high points were the joyful and wickedly crude interactions between characters were hilarious and the relationship between the naughty Irish outcast culture and that of the disenfranchised aboriginal people was touching. Rosy and Molly they share not only nips of gin and a lusty love of men. They are both embattled victims of Protestantism and British government.
The whites are not a pretty group being represented by the patronising and righteous Crown Protector (Robin Cuming,) his churchy assistant and the bitter harradin, Nurse Kaye (Wendy Strehlow) who treats the women like retarded children.
There is a warmth, love and truth in the often rough acting which made the performances engaging. There is some funny, truthful dialogue between characters and Theresa Creed did a sterling job understudying the role of Rosy. while Jack Charles gives a perky performance as the lady-killer Tommy.
The design was strong. Projections of paintings by Mark Howett which spilled onto actors and set, were exceptional mood setters.
The raw acting was not well supported by the unimaginative staging and flabby direction. There were pauses to drive a truck through. Shifts between the hospital naturalism and Dreamtime became clumsy and slow. As the play nears its ending and Rosy's death, the frequent lighting changes become annoying and unnecessary. The drama is interrupted and flaws are highlighted.
This story needs to be told and Sally Morgan's script goes part of the way to doing so. The production may be flawed but it is charming and entertaining.
KATE HERBERT
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