Dear Son is based on Thomas Mayo’s recent book of the same name in which he invited 12 contributors to write a letter to their son or father, bringing together perspectives that challenge and celebrate First Nations masculinity. In a finely crafted play, Isaac Drandic and John Harvey have adapted the epistolary book into a page-to-stage theatrical work, to honour rich Indigenous traditions and the wisdoms of past generations.
Additionally, Dear Son explores current day issues around toxic masculinity and challenges presented for First Nations people.
The result is a powerful 75-minute work that tears open many preconceived ideas such as ‘men don’t talk’ by offering stories that show distinctive traits of male vulnerability, courage and strength. The adapted letters share personal experiences, while reflecting on the meaning of masculinity, on cultural heritage and racism in Australia, plus hopes for a better future. The stories are enacted by five wonderfully diverse actors – as individual voices, in conversations together or representing other characters from the letters.
Jimi Bani, Waangenga Blanco, Trevor Jamieson, Kirk Page and Aaron Pedersen make strong individual contributions, as well as being a genuinely powerful collective. Bani gives an authoritative performance throughout, while Pedersen’s anguish and anger is heartfelt. Page’s vocalised letter on his sexuality is particularly moving. Jamieson plays guitar and sings, in addition to offering some delicious characterisations. As a dancer himself, Blanco choreographs impressive movement for the cast, creating fine stage pictures.
Dear Son: well-realised setting
A stunning setting created by Kevin O’Brien offers a sandy beach and an outdoor cookhouse in the tropics, complete with a realistic prop tree and a burning firepit, where the men yarn and tell stories. It is complemented by Delvene Cockatoo-Collins’ practical costuming, with additions such as hats, wigs and spectacles that help delineate the various characters.
David Walters lights the set with skill and imagination, evoking day and night, weather conditions and atmospheric moods with aplomb. Wil Hughes’ soundscape and composition is impressive, effectively complementing various moods. Craig Wilkinson delivers marvellous video projections, especially the use of projected words on the back screen separating scenes while highlighting characters’ traits or roles.
Director Isaac Drandic draws us into this world with a mixture of humour counterbalanced by serious political statements that offer a well-rounded play, which both connects and illuminates. The comedic skills of the actors come to the fore in many scenes. There are two characters who simulate bike riding across the Australian desert, complete with a fun video projection of the moving landscape, complete with kangaroo, in the background.
Dear Son: biting political comentary
Drandic is unafraid to touch on social issues with biting political commentary on deaths in custody and racism. A character remarks that white people were scared “we were going to take their land” following the Mabo judgement, while another states sardonically, “Yeah, I wonder how that feels.”
In a poignant and brave ending, supported by photos of their families, the five actors offer subjective statements about their real selves, which is clearly cathartic for them all. It is also moving, alongside the poetic opening and closing lines of dialogue: “With the strength of our ancestors, our words are like stars on a moonless night.”
Read: Performance review: BullyBully, Sydney Opera House
While Dear Son is deeply rooted in masculine Indigenous culture, the work also offers a wider perspective across masculinity as a whole. Regardless of race or upbringing, we can all recognise the need for familial honesty, compassion and love in our relationships. In Drandic and Harvey’s adaptation of Mayo’s book, this recognition of what it means to be a man and the responsibility of father to son and vice versa is foremost in its messaging. Beautifully crafted and sensitively delivered by the five strong cast, Dear Son is a very important First Nations new work.
Dear Son, Bille Brown Theatre, Queensland Theatre
Based on the book by Thomas Mayo
Co-adaptors: Isaac Drandic and John Harvey
Director: Isaac Drandic
Set Designer: Kevin O’Brien
Costume Designer: Delvene Cockatoo-Collins
Lighting Designer: David Walters
Video Designer: Craig Wilkinson
Composer and Sound Designer: Wil Hughes
Associate Lighting Designer: Eben Love
Associate Composer and Sound Designer: Patrick Mau
Assistant Director: Tibian Wyles
Assistant Construction and Set Designer: Liam Maza
Vocal Coach: Marcus Oborn
Stage Manager: Pip Loth
Assistant Stage Manager: Yanni Dubler
Choreographer and Movement director: Waangenga Blanco
Cast: Jimi Bani, Waangenga Blanco, Trevor Jamieson, Kirk Page, Aaron Pedersen
Dear Son will be performed until 19 July before touring to Odeon Theatre, Adelaide from 26 July to 16 August 2025.
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