The Black Woman of Gippsland is a provocative and layered theatrical experience that challenges audiences to rethink historical narratives, cultural silences and the resilience of Indigenous identity.
But what transpires over 90 minutes is more than a history lesson – it’s a visceral, heartfelt exploration of storytelling and cultural truth, delivered with the depth of embodied experience only those who live it can convey.
Expertly directed by the prolific Yorta Yorta and Gunaikurnai woman, Andrea James, the title suggests a story centred on a Black woman from Gippsland from the outset. However, as the narrative unfolds, it becomes clear that the story is far more complex and subversive than its title implies.
The show employs a cyclic storytelling approach – where the narrative loops back on itself, emphasising themes of repetition, memory and the cyclical nature of history and trauma. This structure effectively mirrors how history can be revisited, reinterpreted and ultimately transformed through Indigenous knowledge systems and personal reflection.
The focal point is Jacinta, a passionate PhD student played with nuance and intensity by Chenoa Deemal. She is racing against a tight deadline to complete her thesis about a legendary story of a ‘white woman’ who arrived in Gippsland during the 19th century and vanished mysteriously, leaving behind layers of colonial myth and Indigenous silences.
When tensions escalate with her aunt, Rochelle, a role eloquently delivered by Ursula Yovich, Jacinta chooses to run away, determined to remain hidden until she completes her thesis.
During her period of seclusion, she is forced to confront her reality – externally, as she physically rearranges the set before the audience – and internally, as she invites her ancestral spirits to guide her.
As Jacinta reconnects with her research and cultural roots, her world shifts profoundly.
The production invites the audience to journey with her through songlines and the spirit of her people, the Gunaikurnai, transforming the stage into a living landscape of heritage, resistance and self-discovery.
The Black Woman of Gippsland is compelling, blending as it does contemporary theatre with Indigenous storytelling methods. The use of movement, song and ritual – choreographed by Brent Watkins (who also performs in the show) – immerses the audience in the intangible world of songlines and ancestors and transforms the stage into a space of spiritual dialogue.
Including a younger character, Jacinta’s cousin, Kyle (Zach Blampied), injects innocence and humour, providing necessary levity amid weighty themes of land dispossession and racial injustice. Blampied also plays the role of Williambulung, a historical Elder whose spirit connects with Jacinta.
Sound design plays a vital role throughout the show in conveying the Gunaikurnai people’s rich cultural heritage and deep spiritual connection to their land. Sound designer James Henry collaborates closely with director James to create an auditory experience that authentically reflects the significance of songlines, Dreamtime stories and traditional practices. By incorporating natural sounds, traditional instruments and rhythmic patterns, the soundscape immerses the audience in the Gunaikurnai worldview, emphasising their ongoing relationship with their ancestors and Country.
In a masterstroke of storytelling, the show’s climax reveals a metaphor that represents colonial erasure and the silencing of Indigenous women and culture, a stark reminder of ongoing racial injustices depicted through the role of Sergeant (Ian Bliss).
This revelation reframes the entire narrative, transforming the legend into a haunting tribute to Indigenous women lost to systemic violence. The title, which initially seems to promise a story about a distant legend, ultimately and poignantly reflects on intergenerational loss, cultural resilience and the importance of Indigenous knowledge.
Read: Immersive review: The Door in Question, 47 Paisley St, Footscray, Sleepless Footscray Festival
The Black Woman of Gippsland is a compelling Aboriginal thriller that deftly intertwines history, spirituality and contemporary social critique. Its non-linear, cyclic storytelling invites viewers to reflect on how histories are told, remembered and sometimes deliberately silenced.
The show’s powerful ending leaves a lasting emotional impact, urging audiences to confront uncomfortable truths and honour the enduring strength of Indigenous cultures.
The Black Woman of Gippsland
Melbourne Theatre Company
Southbank Theatre, The Sumner
Writer and Director: Andrea James
Set and Costume Designer: Romanie Harper
Lighting Designer: Verity Hampson
Composer and Sound Designer: James Henry
AV Designer: Rhian Hinkley
Movement Dramaturge: Jacob Boehme
Gunnai Cultural Consultant for the Gunaikurnai: Wayne Thorpe
Associate Director: Amy Sole
Dramaturgs: Patricia Cornelius and Jennifer Medway
Cast: Zach Blampied, Chenoa Deemal, Brent Watkins, Ursula Yovich, Ian Bliss
The Black Woman of Gippsland will be performed until 31 May 2025.
