Review: THE SECRET RIVER Is An Important Work, Presented With Honesty And Sensitivity

Friday 5th February 2016, 7:30pm, Roslyn Packer Theatre, Walsh Bay

Andrew Bovell's Helpmann Award winning adaptation of Kate Grenville's multiple award winning book, THE SECRET RIVER returns to the Sydney Theatre Company stage. The fictional work, based on history, challenges the audience to examine how they understand, misunderstand, react, interact and judge the things that are foreign and new to them. Important in understanding Australia's past, this work is also universal in its parallels with settlement and displacement of indigenous cultures around the world.

The audience is greeted with the smell of a burning campfire and the vision of the base of a giant blue gum tree rising up beyond the height of the stage. Leafy branches border the proscenium and dappled light signifies water on the pale, rough painted floor. The stage is devoid of the traditional curtain and legs with the lighting uprights and the wings remaining visible, in keeping with the raw nature of the setting on the banks of the Hawkesbury River. Upstage stage, to the right of the scene, in a space differentiated by a black base sits an upright piano with its front panels removed to expose the movement and strings, a cello and various other instruments.

First presented in 2013, this revival of THE SECRET RIVER brings back some of the original cast including Nathaniel Dean in the central role of William Thornhill. Dean captures the ambition of the ex-convict that wants to make a new, better life, away from the world of poverty that rejected him and his family. He expresses William's love and devotion to Sal and their children Willie and Dick, and his caution in dealing with not only the native Dharug family that inhabit the land he is now trying to claim, but also his fellow colonial settlers that have established themselves along the river. He captures the prejudice of the unknown that existed, and still exists, along with expressing his inner conflict at his actions.

For the revival, Georgia Adamson steps into the role of William's wife Sal Thornhill. She presents the plucky young wife and mother with a determination and also compassion. She captures Sal's growth from someone that lived in fear of the fellow inhabitants of the land to one that tries to connect and befriend them. Eldest son Willie is presented by Rory Potter, who previously shared the role of younger son Dick. Potter presents Willie as the quieter of the two sons and the one more influenced by his parents prejudice, remaining on the periphery of his younger brother's activities.

The role of younger son Dick is shared by Toby Challenor and Heath Jelovic. Dick's new friends and playmates are portrayed by Wesley Patten and Jeramiah Mundine sharing the role of Garraway and James Slee returning to the role of Narabi. The children are presented with an openness, acceptance and innocence, familiar in most children before prejudice and fear has overtaken their curiosity.

Ningali Lawford-Wolf takes on the role of Dhirrumbin, who, in keeping with the character's name matching the Dharug name for the Hawkesbury River, narrates the story from an all seeing perspective. Lawford-Wolf presents the narration in a measured tone that also conveys the emotions that unfold but with a tempered judgement of William's and the settlers' choices. Kelton Pell presents elder Yalamundi with a quiet gravitas. Frances Djulibing as Buryia and Madeleine Madden as Gilyagan and Muruli present the inquisitive women well and express the openness with which they try to make friends with Sal.

Of the other settlers, Mrs Herring (Jennifer Hagan) and Thomas Blackwood (Colin Moody) present as more accepting and understanding of the indigenous inhabitants whilst the other motley group are hostile towards them. Hagan presents an amusing crotchety old woman that is called upon to help Sal and Hagen lets Mrs Herring's humanity come through her gruff exterior. Bruce Spence as settler Loveday is amusing as the educated member of the odd group and Richard Piper has created an utterly detestable Smasher Sullivan.

The work initially has a lightness and hope, sprinkled with a liberal dose of humor as the two cultures get to know each other but there is the underlying prejudice and fear that embraces Sal, William and Willie. This changes as the struggle for 'ownership' of the land continues and the darker side of prejudice, arrogance and greed becomes more apparent. Armfield uses a blend of symbolism and graphic expression to convey the horrors that take place ensuring that the gravity of the events is felt and not trivialized. The weight of the work naturally has an impact on the emotions of all the performers and in parts the challenge of reigning in personal reaction is evident but once the pressure of opening night is passed, this control may be easier.

THE SECRET RIVER is an important story that raises the consciousness of past events that for a long time were not discussed or acknowledged. It shines a spotlight on Australia's history with a sensitivity and honesty. There is an understanding of why William made the choices he did but also an awareness that there were other options and a message to not repeat the past. This is an engaging story that should be seen not only by Australians of all backgrounds, but also hold a message for other communities, cultures and countries.

THE SECRET RIVER

Sydney Theatre Company

Roslyn Packer Theatre, Walsh Bay

1 February - 20 February 2016

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