White man has a lot to answer for … and Black Light makes it clear just how much in an expressive family drama with comedic elements. A cataclysmic event envelopes the nation. Planes have been grounded. Blackouts are frequent. There is no choice but to wait it out. Outside Darwin, three generations of the one clan reflect on the importance of Country and the ills that have befallen Australia’s First Peoples since colonial rule. That includes displacement and violence.
The matriarch of the mob is Nan. Her father – a stockman – built the house in and around which the play takes place. Nan, who has dementia, tries to make sense of the brave but ugly new world, and carries around vivid memories of her ancestors. With her are her two remaining daughters, known as Aunty and Mum. Aunty, who is drawn to the bottle, is Mum’s permanent carer. Mum left home when she was 16 and now pays occasional visits. She and Aunty don’t see eye to eye. They clash – a lot.
Then there is Bub. They are the offspring of a violent, good for nothing father and a mother – Nan’s third daughter – they lost when they were only young, possibly at the hands of their father. They were subsequently brought up by Mum. Bub, who has two young children, only recently separated from their wife and tension in that relationship is high.
Black Light is a production about finding a way back to Country … to the people loved, when everything else is trying to tear them apart. In the stillness, with unease all around, ingrained fears are never far from the surface. Against the pain, the wisdom of the ages becomes more meaningful, as the call to Country grows ever louder.
A deeply personal work, writer/director Jada Alberts does a fine job exploring the complexities of intergenerational wisdom, trauma and survival in a foreign world. Peppered with humour, she paints a moving and catastrophic portrait that can’t and shouldn’t be ignored. The situation is brought to life by four excellent performances that resonate throughout. Adding weight is the fact that sisters Aunty and Mum are played by real life sisters Rachael and Lisa Maza. I loved the cheeky streak that Trisha Morton-Thomas imbued in Nan. As the play progresses, Tahlee Fereday ensures that Bub’s deep-seated fears rise to the surface. There is much to admire about how all bring authenticity to their roles.
The striking set design by set and costume designer Dale Ferguson exposes the vastness of Country. Given the circumstances in which this extended family find themselves, the lighting design from Jenny Hector is a critical component of the work. I was mighty impressed by the soundscape created by composer and sound designer Kelly Ryall, whose gentle musical entry gives way to thunderous intent. Nine-five minutes without interval, Black Light is a sensitive and heartfelt play that gives strong voice to our destructive history.
It is on at Merlyn Theatre at Malthouse Theatre until 7th March, 2026.
Alex First
Other reviews you might enjoy:
- Brothers Wreck (Malthouse) – theatre review
- K-Box (Malthouse Theatre) – theatre review
- Chunky Move’s 4/4 (Malthouse Theatre) – dance review
Alex First is the editor of The Blurb. Alex is a Melbourne based journalist and communications specialist. He also contributes to The Blurb on film and theatre.