We are invited to bear witness to an age-old story — and embedded within it is a tale of storytelling itself, of culture from the world’s oldest living continuous tradition, so profoundly challenged in the early days of colonial invasion. At the heart of Dylan Van Den Berg’s play lies both a lightness and the power of Aboriginal storytelling.
Two young men — boys, really, at the beginning — are sent as messengers to exchange knowledge on behalf of their clans. Neddy (Danny Howard) of the Mountain Mob and Ty (Joseph Althouse) of the River Mob meet each new moon to share stories about the newly arrived whitefellas. Etched into their exchanges are the expectations of their people: that one will become a warrior, and the other a clan story-keeper. They playfully yet earnestly respect each other’s skills and roles within family. Eventually, they share not only obligations but also the familial joy of a deepening friendship.
The play captures the honesty and raw joy of this friendship, blossoming into the blush of a first crush. These tender moments are beautifully revealed in real time, as each, gently spotlit, confides in his Sis and Aunty what this first love feels like, could be, and is — welcomed in turn by family. There is a delicious humour and lightness in these boys and their youth.
Time in the play is measured by these new moon meetings, first anticipatory, then increasingly urgent. The colony of whitefellas draws closer and closer, threatening first the meeting place and then the boys’ very people. The colony brings more dangers than either could imagine. For the audience, this unfolding discovery lands as historic truth, made all the more powerful by our growing connection to these two young men. Dylan Van Den Berg easily has us yearn for the success of their union, binding us to the love they feel for each other.
Designer Mason Browne creates a central meeting place around an ever-present yellow “lemon” tree — simple, powerful, and enhanced by the striking lighting design (Kelsey Lee, Katie Sfetkidis). The lighting marks both time and season, as well as the threat of storm. Sound design (Steve Toulmin), beginning as a timeless evocation of being ‘on Country’ and resonating deeply in the boys’ intimate moments, seemed at times to overstate mood shifts and the encroaching presence of the whitefella. Its booming reverberations occasionally felt like a blunt force, pulling focus away from the unique and personal delicacy of Neddy and Ty’s relationship.
The transition to Wharf 1, reclaiming intimacy from the original Stables Theatre staging, worked well. Although I first saw the play three years ago, I found it just as powerful — if not more so — today. Audiences will not only admire this play and its story but also be profoundly moved. It is a beautiful work, telling a truth we need and are ready to hear today.
90 mins, no interval
This production was first produced by Griffin Theatre Company on 19 August 2022 at the SBW Stables.
This season opened at Wharf 1 Theatre on 23 Sep 2025.
