Woollarawarre Bennelong is one of the pivotal figures of early colonial history in Australia. Rather than tell his story through a conventional historical drama, playwright Jane Harrison employs an ingenious theatrical device. Sebastian, a contemporary First Nations actor nervously preparing an audition to play Bennelong, unexpectedly finds himself face to face with the Wangal man himself. Whether apparition, memory or imagination hardly matters. Bennelong has returned for one purpose: to ensure his story is finally told on his own terms.
Voice from the past
The result is a fascinating dialogue between past and present that explores not only the life of Bennelong but also the burden of representing history. As Bennelong wryly reminds the increasingly bewildered Sebastian, “I’m not a figment – your imagination is not that good.”
Over 90 uninterrupted minutes directed by Ian Michael, Bennelong recounts a life marked by extraordinary contradictions. Born around Parramatta in 1764, Bennelong was captured on Governor Arthur Phillip’s orders in 1789 and quickly picked up the English language. He chose to accompany Phillip to England in 1792, spending almost three years immersed in British society before eventually returning to Country. Admired by some and condemned by others ever since, he rejects simplistic labels. “I’m a devil and a saint. I’m admired and vilified. I can’t help that. Just tell my story.”
A complex man
That plea lies at the heart of Harrison’s thoughtful script. Rather than portraying Bennelong as either hero or traitor, she embraces the complexity of a man navigating two vastly different worlds at a time when no blueprint existed for survival.
Googoorewon Knox brings warmth, dignity and quiet humour to Bennelong, while Guy Simon delivers an impressive performance as Sebastian, plus a host of other characters, including Governor Phillip and Bennelong’s formidable wife, Barangaroo. Their chemistry gives the production both emotional depth and welcome moments of levity.
A moving journey
Emma White’s set transforms Sebastian’s modest home into multiple playing spaces, with native grasses weaving through the interior as a constant reminder that Country is never far away. James Peter Brown’s evocative original score adds another layer of atmosphere, movingly underscoring both the spiritual and emotional journey unfolding on stage.
Anyone who arrives at this play knowing little about Bennelong will leave with a far richer understanding of one of Australia’s most misunderstood historical figures. If you already know his story, Harrison’s play offers something equally valuable: a fresh perspective that resists easy judgments.
By the final scene, Sebastian hasn’t simply learned how to play Bennelong; he has gained a deeper understanding of himself, his heritage and the responsibility that comes with telling another person’s story. As Bennelong quietly assures him, “It’s all inside you, brother.”
Bennelong in London
Sydney Theatre Company
Until 16 August
sydneytheatre.com.au
