DIRECTOR’S NOTE
This is a stage play with a cast of
seven Aboriginal actors playing
eight characters.
It’s set in the present day and
tells the story of a Tasmanian
Family and their five weeks on
an isolated island in the Bass
Strait harvesting muttonbirds,
a traditional cultural practice.
ISAAAC DRANDIC
Director
Isaac Drandic is an actor,
dramaturg and director.
Directing credits include
Coranderrk (Belvoir), Archie
Roach’s National tour Into the
Bloodstream (2013 Melbourne
Festival) and co-creator of
Bindjareb Pinjarra. Isaac is
also the director of Blood On
The Dance Floor. Isaac plays the
character Harry in ABC high-
concept drama Cleverman.
It’s a comedy, with universal
themes around family, culture,
tradition and change. The modern
world is starting to encroach on
their previously private domain.
It’s a fictional yarn, seeded in the
truth of Nathan’s experiences
across 20 years of muttonbird
Seasons, and the hundreds of
yarns (some tall, some true)
that he has inherited from his
community.
Like many of us, I grew up
thinking Trugganini was the last
Aboriginal Tasmanian.
When I saw Nathan’s play read at
the National Yellamundie Festival,
I realised how badl y misinformed
many of us have been via the
European view of history, and
how little we knew about this
community.
This work is important because
we get a first-hand insight into
this world we haven’t had access
to. Elder Uncle Jimmy Everett and
the community are supporting
Nathan to be one of their story
tellers.
Rewriting, reframing and
reclaiming the image of ourselves
and telling our own stories is the
top priority to better the health
outcomes of our communities.
We need stories of thriving,
resilient and successful families
to inspire our young. We need
Aboriginal creatives to control
the stage and to paint an
accurate picture of ourselves to
inspire and celebrate who we are.
It’s been 30 years since Jimmy
Everett penned his plays that
were only ever presented in
Tasmania back in the 80s.
This was the first play to touch
on the history of their traditional
practices and bring these to the
national stage.
Nathan’s writing style manages
to capture our imagination and
challenge our pre-conceptions
of Aboriginal Tasmanians.
The work is understated, there
isn’t a clap stick in sight but the
depth of tradition and respect is
evident through the action of the
play. It’s not romanticised, it’s
real. The plain speak style of the
script is part of its charm and is
quite disarming.
This style of play has been
missing from our mainstages.
It’s simple, unpretentious, honest
and you are going to love it.
I feel comfortable directing
this Tasmanian story because
contemporary Aboriginals are
keen to collaborate and to work
across borders to share our
skills, knowledge and traditions
to strengthen all of us.
This is one of the all too rare
projects that has an Aboriginal
writer and director as well as
an Aboriginal cast of seven. A
unique Aboriginal story and a
unique opportunity to be part of
this. It’s meaningful. Because of
the significance of this work we
are bringing together some of
the best Indigenous artists from
around the country.
— ISAAC DRANDIC