Review: AT WHAT COST? at Odeon Theatre

Reviewed by Barry Lenny, Tuesday 20th June 2023.

Nathan Maynard’s play, At What Cost?, which premiered at Belvoir Street Theatre, is the story of a palawa man from putalina (Oyster Cove), in Tasmania, Boyd Mansell, that draws on historical events. Going back in time to the 1800s, William Lanne(y) (c.1835 – 3 March 1869), who was known as King Billy, was a whaler who lived in putalina. William Crowther, a member of the Royal College of Surgeons of England, who later became the premier of Tasmania, stole Lanne’s skull and secretly sent it to the British Museum.

Remains of a number of indigenous Australians were returned to Australia in the 1990s by the University of Edinburgh, and the Tasmanian Aboriginal Centre believed Lanne’s skull to be among them, although it has been officially denied by the University.

In the play, the caretaker of putalina, and representative to the Land Council, Boyd Mansell, is chosen by the Land Council and tasked with lighting the fire to cremate William Lanne’s skull, sending his spirit to join his ancestors. During the play, he gathers large branches from around the edge of the stage, and gradually builds the pyre.

He is also the gatekeeper, denying entry to the lands on which he and his people live to those he refers to as ‘claimers’, those who claim Aboriginal heritage, but have not been accepted by the community. He talks of them angrily, referring to ‘tick-a-boxes’, meaning that a claim of Aboriginality is accepted by the government, but the community rejects them for being raised with non-Aboriginal identity, and who have a lack of continuous connection to country, and no clear bloodlines. They are the rival group, HATS, the Hidden Aboriginals of Tasmania. He takes this latter part as gatekeeper very seriously and, in fact, tends to take it too far.

He and his pregnant wife, Nala, live in a hut at putalina, and his cousin, Daniel has recently arrived. A woman is camping in a tent nearby, explaining that she is researching for her thesis on William Crowther and his disrespectful and illegal dealings with The Remains of deceased Aboriginals.

Luke Carroll plays the central character, Boyd Mansell, and Sandy Greenwood plays his wife, whom we first discover as a loving and playful couple, in their hut. Carroll gives us a man of strong, rigid convictions, committed to his heritage, determined to honour William Lanne, and expressing an unbending view on ‘us’ and ‘them’. Greenwood is the supportive wife, and the one who tries to help him maintain a balance, attempting to smooth the many troubled waters, stirred up by the other two. Their wonderful characterisations are combined with a great rapport.

Daniel Mansell, played by Ari Maza Long, is a palawa man, born at putalina, but treated as an outsider, as he grew up on the mainland, and he has only recently been accepted. His much more relaxed views on identity differ to those of Boyd, causing growing friction and anger. Long shows us an easygoing man, who sees himself as something of a playboy, easily captivating women. He immediately turns his attention to Gracie.

Gracie Ranson, played by Alex Malone, easily catches the roving eye of Daniel, a budding relationship that Boyd looks at unfavourably, even when it transpires that Gracie and Nala were friends long ago. She becomes the catalyst for conflict between Boyd and Nala, Daniel, and herself. Malone presents Gracie as a bright, bubbly, and energetic character, but she has a secret.

Long and Malone clearly convey the intense sexual desire of a new and growing relationship, and add a few moments of lightness and fun to what is a serious matter.

The production is directed by Isaac Drandic, who establishes the complex set of relationships, and builds the tension through to the conclusion, with Boyd lighting the fire. Designers, Chloe Ogilvie and Jacob Nash, and Lighting Designer, Chloe Ogilvie, have worked hand in hand to cleverly show locations and times. Composer, Brendon Boney, and Sound Designer, David Bergman, do much to create a sense of place, and enhance the emotional content.

This is a powerful and moving work that explores a number of themes, generating strong emotional conflicts. Be sure that it is on your list of plays to see.

Photography, Jessica Zeng.