REVIEW: BENNELONG IN LONDON Is An Artfully Expressed Conversation Across Centuries To Set The Record Straight.

Thursday 23rd July 2026, 7:30pm, Wharf 1 Theatre Walsh Bay

Jane Harrison’s newest work BENNELONG IN LONDON explores what the iconic Indigenous Elder might have to say if he had the chance to influence a 21st century actor’s expression of his life.  Directed by Ian Michael, this two hander is a captivating and though provoking reminder that much of what is ‘known’ of the relationship between white colonisers and the indigenous population was written by the white colonisers.

The premise of BENNELONG IN LONDON is that in 2026, in an apartment in Parramatta, Sebastian Anderson (Guy Simon), a 35-year-old man of Aboriginal descent is preparing to submit a video audition to play Bennelong in a new one-hander production.  As he grows increasingly frustrated with his attempts to capture the essence of the first Indigenous Australian to go to, and return from, London, his desperate plea conjures up Bennelong (Googoorewon Knox) from over two centuries ago.  When the shock wears off, Bennelong agrees to help, only if he is given the chance to dispel the myths and distortions that history, told by white colonisers, has taught for years. 

While the work sits in the 21st century, in Sebastian’s living room, Designer Emma White has provided a connection to Bennelong’s time with stands of grasses growing within the apartment.  Sebastian’s backstory of an actor is reinforced with the eclectic design where nothing matches and is possibly found, thrifted or gifted.  A picture of the limestone gorges, Tony Albert’s Waratahs and a traditional shield express Sebastian’s pride for his heritage while there are modern gadgets like a tap to change lamp and other knick-knacks displayed on shelves.  The most significant part of White’s costume design is the changes for Bennelong as he tells his story from capture by Governor Arthur Phillip’s men when Bennelong and his countrymen were partaking in a whale feast, to the scratchy clothing he and fellow captive Colebee were made to wear, and the tailored suits made for him in London so he could go out in 'polite society'.  Trent Suidgeest’s lighting design allows the story to be told over an afternoon and night while also drifting it between conversation and replaying the parts of the play Sebastian is auditioning for, a work that would have him playing not only the main man, but all the characters that surrounded Bennelong’s story.  James Peter Brown’s sound design and compositions provide a subtle backdrop to the work with percussive elements inspired by traditional music and birdsong while also interspersing more direct connections to culture as Knox’s Bennelong sings traditional songs. 

This work, written by Jane Harrison who herself is a descendant of the Muruwari people of New South Wales, is multilayered in the themes it explores.  At its core is the understanding of Bennelong, a man that history has framed as one that temporarily fit into the white society but downplays the importance of country and community to his motivations.  It also explores the distortion of history by the white lens, an ongoing issue as modern societies reconsider some of the honours bestowed on people of the past.  It considers the differing values of the 18th century and the 21st century as modern day movements often reframe how people are honoured after contemporary values are applied to historic behaviours.  The evolving understanding of connection to culture is explored as Bennelong viewed acting as frivolous and devoid of any significant meaning, with acrobatics, comedy and music, so does not see Sebastian’s vocation as making up for his disconnect from country where he no longer knows the songs, dances and language of his ancestors. 

As a conversation across a divide spanning over 200 years, BENNELONG IN LONDON is presented with a good balance of humour and seriousness as it provokes thought and reevaluation of how we consider history and where we find our sources of truth.  The absurdity of the premise of a character from history following a plea from the present and appearing to help with an audition is delivered with a balance that acknowledges the premise is somewhat crazy but also a conviction that it could possibly be true so run with the idea.  Knox and Simon work well together, delivering the requisite humour and gravity to the work while lifting a lid on the history that many may not be aware of. Well worth seeing.

Sydney Theatre Company - BENNELONG IN LONDON

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