Review: DEAR SON at Odeon Theatre

Reviewed by Barry Lenny, Wednesday 30th July 2025.

State Theatre of South Australia’s latest work is Dear Son, adapted from the book, Dear Son, Letters and reflections from First Nations fathers and sons, by the distinguished author and editor, Thomas Mayo, He invited twelve First Nations men to each write a letter to their son, father, or nephew to celebrate manhood. Those men were: Stan Grant, Troy Cassar-Daley, John Liddle, Charlie King, Joe Williams, Yessie Mosby, Joel Bayliss, Daniel James, Jack Latimore, Daniel Morrison, Tim Sculthorpe, and Blak Douglas.

Director, Isaac Drandic, with co-adaptor, John Harvey, has taken those letters and created a stage production featuring five performers: (Assistant Director) Tibian Wyles, who also plays guitar for a couple of songs, Jimi Bani, Waangenga Blanco, Kirk Page, and Aaron Pedersen.

Delvene Cockatoo-Collins has arranged for a continual series of costume changes as the performers change characters through a diverse range of men, their stories carried over an extended period of time, telling some stories of celebration, some of regret, intimate family histories, and histories on a larger scale. There is sadness, and shared experiences of denigration and abuse, but also mate-ship, and even moments of comedy. There are ensemble sections, and monologues, which often see the other four acting as a sort of Greek chorus.

While much is from the First Nations perspective, with cultural and historical imperatives, there is also much that is relatable to anybody, and it is not only limited to storytelling. Music and dance are also important elements, created by composer/sound designer, William Hughes, and choreographer/movement director, Waangenga Blanco.

The Mabo land rights decision, an important piece of legislation, gets a reference, and is then used to provide a comical encounter, but you’ll need a ticket to find out why. There is also touching humour in a father trying to tell his children a very personal secret. There is the joy of having a child, and the pain of loss. So much is packed into the seventy minutes of this production. It pulls no punches, touching on everything, including racism, deaths in custody, and toxic masculinity. Everything is laid bare in this often emotionally charged and political work.

It all takes place on Kevin O'Brien’s set, which centres on an open timber framework with a corrugated iron roof. Two tables and four benches are inside. To one side is a tree, to the other, a barbecue, and a fire burns in a cut-down oil drum. The stage is covered in sand. The lighting design by David Walters has many subtle changes to suit the time of day, and the weather, and Craig Wilkinson’s video design adds context through text and imagery, although it is sometimes difficult to read, obscured a little by the wooden structure and the performers.

It ends on a very personal note, with each of the five performers talking as themselves, about their own situations, with their families projected behind them. They closed the performance as they opened it, reciting, “With the strength of our ancestors, our words are like stars on a moonless night.”

The artistic directorship of Petra Kalive bodes well. You will leave the theatre enlightened and uplifted, so be sure to get your tickets for this production.

Photography, David Kelly.

Australia - Adelaide Awards - Live Stats

Best Musical - Top 3

1. BONNIE AND CLYDE (The Arts Theatre)

24.2% of votes

2. COME FROM AWAY (The Arts Theatre)

23.2% of votes

3. BILLY ELLIOT (Northern Light Theatre Company)

17.5% of votes

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