Beyond The Tracks isn’t just a performance—it’s an invitation into the living spirit of Michael Leslie (Kamilaroi/Mandandanji). As a Murri from Moree, Michael’s story is woven with the grit of country rail camps and the soaring possibility of world stages. There’s something fitting about its NAIDOC premiere, marking “50 Years of Deadly,” because the legacy celebrated here is still very much alive, pulsing through every moment shared.
From the first notes and images, I felt drawn into a journey that carried me beyond just observation. Ursula Yovich, sometimes speaking as Michael’s voice, alongside the small ensemble of drums and guitar, anchors the story in poetry and memory—like old stories shared and familiar tunes rewritten alive again through the energy of the storytellers’ performance. Each photograph projected became an ancestor, every piece of train soot and fettler’s camp a chapter in Michael’s memory, brought to life not just for the audience, but for everyone whose identity has been forged “up against the tracks.”
What struck me most was the generosity—there is only truth here, told gently, without blame. These are the makings of a man: hardship, discipline, love, and creative force. I could feel how Michael, spotted for his talent as a young dancer, seized the Churchill Fellowship and brought Australia to Alvin Ailey’s African dance theatre in New York. Even now, decades later, his journey feels restless, always moving, making, connecting.
Designer Mason Browne masterfully captures the essence of Michael Leslie’s journey. The Carriageworks space transforms into an evocative setting where corrugated iron, rust, soot, ballet barres, black mirrors, and soft curtains interplay to create a living montage of images, videos, and memories from camp life to the early trains then to the studio and the stage. Even simple props like an old-fashioned school chair bridge the diverse spaces Leslie has inhabited.
The soundscape was a heartbeat—trains clattering, disciplined training, the drive of Michael’s spirit, all underscored by Calvin Welch’s percussion and Ben Hauptmann’s guitar. Leslie’s movements defied age; still athletic, still full of purpose, while Ursula and the band wove the melody of his story, reshaping familiar tunes and threading them through an Aboriginal narrative that felt both past and present.
Michael’s impact is immense. He helped lay the foundation for NAISDA and contemporary Aboriginal dance, shaped productions like Bran Nue Dae, and became an Aboriginal arts leader. Degrees, awards, and community esteem flowed to him—but the strength of the tribute comes from the fact that the artist stands among us, sharing his story himself. The opening night foyer was alive with family, generations swelling around him; it was impossible not to feel the mark of his presence in the room.
For me, witnessing this production was a reminder that more than his achievements, it is Michael’s timing, impact, and the ripple effect on his people that matter most. Through dance and art, he narrates aspirations for the mob, and Beyond The Tracks captures the breadth of his story and the depth of his spirit.
As the show unfolded, it became clear Michael never stops moving—teaching, leading, making space for others to find their own ground.
The final scenes echoed his official accolades, and I found myself yearning for more glimpses of those decades of dance, those flickers of archive on the screen. Yet seeing Michael move now was evidence enough—a testament to a life still in motion.
This production is both a celebration of a singular artist and a living archive, a mosaic of Aboriginal performing arts history. Co-created with artist Ursula Yovich, composer Ben Hauptmann, writer Robbie Alexander, and director Nicholas Flanagan, it feels like a communal act of remembering and honouring.
I left feeling grateful, moved, and inspired—not just by the story as he told it, but by the way it drew us all in, reminding us that the most powerful tales are those we walk alongside, share, and carry forward, a living celebration of Michael Leslie—a story for today and for the future.
Photo credit Daniel Boud
Bay 20 CARRIAGEWORKS
Approx. 45 minute runtime (no interval)
General Admission seating
Director/Facilitator/Writer Nicholas Flanagan
Actor/Singer/Writer Ursula Yovich
Composer/Guitarist/Musical Collaborator Ben Hauptmann
Percussionist/Collaborator Calvin Welch
Audio Producer/Writer/Visual Designer Robbie Alexander
Set & Prop Designer Mason Browne
Lighting Designer/Visual Designer Frankie Clarke
Assistant Stage Manager/Intern Sally Dalton
This show contains course language, smoke haze, and flashing light.
This production respectfully caution First Nations viewers that Beyond the Tracks contains images and stories of deceased persons as well as First Nations history which viewers may find distressing.
