Review by Sarah Skubala
Dear Brother, a story about hope and brotherhood, is a world premiere work from Queensland Theatre, directed by Isaac Drandic and produced with BlakDance as part of Brisbane Festival. Written by first-time playwrights Lenny Donahue and Tibian Wyles, who also act in the play alongside Kelton Pell and fellow eXcelsior alum Benjin Maza, Dear Brother offers a fresh perspective of the world through the eyes of young Murri men and challenges the narrative around public perceptions of Aboriginal masculinity.
The play starts and we’re introduced to three young men, whose lives come together in the big smoke at a performing arts school in Brisbane. Ezra is a natural dancer who is estranged from his young son EJ but is gently encouraged by his Grandad to move away and embrace his responsibility. Jazz is a rising sports star but has a hidden passion for music and must face up to his Dad, who is also his coach, to follow his dreams. Destyn is a budding actor who grew up in New South Wales where his letters to his brother are becoming unanswered.
While exploring themes of toxic masculinity, the issues of disapproval that men often face when pursuing a life in the performing arts are also touched on with authenticity. In Australia especially, our sporting heroes are revered from a young age, while men who show an interest in the arts are usually cast out socially, something that will only change when we see a cultural shift within the family structure, particularly between fathers and sons.
Tibian Wyles, Lenny Donahue and Benjin Maza had such an easy chemistry with each other which made their scenes so fun and compelling to watch. Their scenes in the pub in particular were a highlight and the ribbing portrayed between Destyn and Jazz was so authentic. Maza’s musical prowess as Jazz was impressive and it was easy to believe in Destyn’s jealousy. Destyn’s apology scene was refreshingly honest and the joyous modern dance break straight after the two resolved their differences was a showstopper and highlighted the three’s clear love of dance.
Kelton Pell took on multiple roles including Ezra’s Grandad and Jazz’s Dad and he showed great versatility in switching between the two characters from one scene straight into the next. His role as the tough coach father was particularly confronting, especially the line, “Real men don’t watch other men dance.” Pell’s apology scene with Maza was fearless and raw and had the audience in tears.
Movement and dance were an integral part of the storytelling in Dear Brother, and as movement dramaturg, Drandic succeeded in making this seamless and purposeful. Choreography by Waangenga Blanco brought another level of expression to the storytelling which transcended words and was refreshing to see in a play. The set, designed by Kevin O’Brien, was minimal but evocative and included a starscape from North Queensland and a forest of trees with tiny cutouts enhanced by clever lighting designed by David Walters.
We urgently need to see more work that unapologetically tackles men’s issues, men’s mental health and stories that reflect modern masculinity. Dear Brother has succeeded in doing this with plenty of humour and heart and is a must-see inclusion this Festival season.
Image Credit: Morgan Roberts
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