A profound theatrical production exploring Indigenous Australian fatherhood has opened at Sydney's Belvoir Street Theatre as part of the Sydney festival. 'Dear Son' is a moving adaptation of Thomas Mayo's 2021 collection of essays, written by thirteen prominent Aboriginal and Torres Strait Islander men.
From Page to Stage: A Celebration of Indigenous Fatherhood
The play, which premiered in Brisbane last year before seasons in Adelaide and now Sydney, transforms deeply personal written reflections into a shared, communal experience. Adapted for the stage by director Isaac Drandic and co-adapter John Harvey, the production features essays from notable figures including journalist Stan Grant, country singer Troy Cassar-Daley, and former NRL player Joe Williams.
Five actors – Jimi Bani, Kirk Page, Tibian Wyles, Waangenga Blanco, and, on opening night, director Isaac Drandic stepping in for an ill Luke Carroll – bring these stories to life. They perform in a simple setting reminiscent of a coastal beach shack, barbecuing and yarning, instantly creating a sense of warm, vulnerable camaraderie that invites the audience in.
Powerful Performances and Shared Truths
The ensemble cast deftly navigates the weighty themes of trauma, healing, and intergenerational love, often playing supporting roles in each other's narratives. A recurring, unifying refrain – "We pull the oars of truth, with strength from our ancestors" – anchors the piece, acknowledging societal issues while confronting dehumanising government policies and media portrayals.
Jimi Bani proves a charismatic storyteller, vividly rendering Yessie Mosby's essay about fighting for his children's future in the Torres Strait Islands against the threat of climate change. Kirk Page delivers gravitas in Stan Grant's piece about his father's struggle to retain Wiradjuri language and culture, before shifting to a gentle, poignant tone for Daniel Morrison's story about coming out as gay to his son.
Tibian Wyles provides musical heart, leading the company in acoustic performances of Troy Cassar-Daley's songs 'Some Days' and 'Windradyne'. Waangenga Blanco, who also serves as the production's choreographer, delivers a raw and physical performance of Joe Williams's essay expressing regret over past alcoholism.
A Viral Movement and a Striking Finale
One of the play's most dramatic sections involves Joel Bayliss's essay. It recounts holding his baby in 2016 as he learned of his mother's death, followed by the horror of watching the ABC's Four Corners report on the Don Dale Youth Detention Centre abuse. The piece powerfully contrasts this with his furious reaction to a racist cartoon by the late Bill Leak in The Australian, which depicted a neglectful Aboriginal father.
This cartoon prompted Bayliss to post a picture of himself with his children online, sparking the viral #IndigenousDads movement. The play's masterful conclusion sees the five actors break the fourth wall, introducing themselves by their real names, sharing their own stories and hopes for their children, backed by projected family photographs. This moment of direct, empowering truth-telling provides an incredibly moving denouement.
'Dear Son' runs at Belvoir Street Theatre as part of the Sydney festival until 25 January. It is a generous, humorous, and ultimately uplifting exploration of Indigenous identity, masculinity, and the enduring power of familial love.
