PROMPT RESOURCE / ENGLISH - 6 MAY - 16 JUN - Malthouse Theatre
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PROMPT RESOURCE / ENGLISH 6 MAY – 16 JUN
ON E A S2019 S —— — Malthouse Theatre and Black Swan State Theatre Company present Cloudstreet. Cloudstreet was first commissioned by Black Swan State Theatre Company and Company B Belvoir in 1998. © Copyright: Malthouse Theatre, the artists, designers, photographers, collaborators and contributors. All rights reserved, 2019. PROMPT PACK CREATED FOR MALTHOUSE PROMPT—MALTHOUSE THEATRE’S YOUTH AND EDUCATION PROGRAM. Cover Image / Zan Wimberley Rehearsal Photos / Pia Johnson Design / Hours After Education Coordinator / Alexandra Macalister-Bills Education Producer / Toby Sullivan English Prompt Pack written by / Jill Fitzsimons Indigenous Australians and The Aboriginal People of Western Australia pages reviewed and edited by / Jason Barrow Cultural Awareness Officer Kurongkurl Katitjin Centre for Indigenous Australian Education and Research Edith Cowan University 2 Bradford Street Mount Lawley Western Australia 6050
CONTENTS
Page 05 About Malthouse Theatre
Page 11 Director’s Note / Matthew Lutton
Page 12 Tim Winton on Cloudstreet
Page 14 Cast & Creative Bios
Page 22 Curriculum Focus
Page 24 Amendments to Original Script
Page 26 Contextual Information
Page 26 Cloudstreet – The History of the Novel
Page 26 Cloudstreet – The Creation of the Play
Page 27 Cloudstreet – The History of the Play
Page 30 Plot Overview
Page 32 Australia 1943 – 1963
Page 35 Indigenous Australians
Page 36 The Aboriginal People of Western Australia
Page 38 Cloudstreet – Perth 1943 – 1963
Page 38 Cloudstreet – Geraldton, Margaret River,
The Wheat Belt WA 1943 –1963
Page 42 Pre-Show Activities
Page 48 Post-Show Activities
Page 52 Video Interview with Matthew Lutton
Page 54 Video Interview with Cloudstreet cast members
Ian Michael, Arielle Gray & Bert Labonté
Page 58 Assessment advice
Page 63 Copyright Notice
#CLOUDSTREETMALTHOUSE
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#CLOUDSTREETMALTHOUSE
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YOUR
JOURNEY
WITH
MALTHOUSE
THEATRE
AWAITS.
At Malthouse Theatre we collaborate with local and
international artists to create inventive performances that
cut to the core of the human experience. Theatre has
the power to interrogate, disrupt and to be an agent of
change—and we think it always should. At Malthouse
Theatre, the work we produce explores the world personally,
socially and politically. Based in a dedicated venue, The
Coopers Malthouse in Melbourne, we are a home for live
experiences that entertain and provoke a dialogue with and
within audiences. Welcome to Malthouse Theatre.
#CLOUDSTREETMALTHOUSE
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#CLOUDSTREETMALTHOUSE
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VIDEO RESOURCES
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INITIAL PRE-REHEARSAL INTERVIEW WITH DIRECTOR MATTHEW LUTTON
REHEARSAL INTERVIEW WITH CAST MEMBERS IAN MICHAEL, ARIELLE GRAY & BERT LABONTÉ
BONUS MATERIALS
DESIGN PRESENTATION / An internal recording of the initial CLOUDSTREET TRAILER /
design presentation for Malthouse Theatre’s team, in December 2018. Featuring Benjamin Oakes
Contains spoilers! Don’t watch this video until you’ve seen the show. (Fish Lamb) and Guy Simon (Quick Lamb)
Page 8—9CAST & CREATIVE TEAM
MAT THEW LUT TON ARIELLE GRAY BRENNA HARDING NATASHA HERBERT
DIRECTOR CAST CAST CAST
BERT L ABONTÉ EBONY MCGUIRE MIKAYL A MERKS IAN MICHAEL
CAST CAST CAST CAST
BENJAMIN OAKES SCOT T SHERIDAN GUY SIMON GREG STONE
CAST CAST CAST CAST
ALISON WHY TE ZOË ATKINSON PAUL JACKSON J. DAVID FRANZKE
CAST SET & COSTUME DESIGN LIGHTING DESIGN SOUND DESIGN
ELIZABETH DRAKE KAT T OSBORNE NATALIE ROWAN DANAE CRAWFORD
COMPOSITION ASSOCIATE DIRECTOR STAGE MANAGER ASSISTANT STAGE MANAGER
ANGUS ROBSON
ASSISTANT STAGE MANAGER
#CLOUDSTREETMALTHOUSEON
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Page 10—11DIRECTOR’S NOTE / MATTHEW LUTTON
When I first read Tim Winton’s Cloudstreet and history that has been repressed
it helped me understand what it meant and denied, demanding to be heard.
to be growing up in Perth. It broadened This is not the story of Australia. This is the
my understanding of living in the world’s story of two families who spend 20 years
most isolated city. The feeling of distance, coming to understand that there is no ‘us’
aloneness, the sense of the supernatural and ‘them’, only ‘us’ and ‘us’. That the voices
power of the Swan River, and the of those who are missing, lost and forgotten
intensity of the plains. It affirmed that I in our land, are always living on with us,
was living on haunted land—a land filled and that we must think into the future
with wisdom and scared of its history. with these lives in our hearts and minds.
One of the remarkable qualities of This theatrical adaptation of Tim Winton’s
Cloudstreet is that it means something story offers a very different experience to
different to everyone who experiences reading the novel. It offers a community,
it. It is the story of two families who are where an audience has the opportunity
forced together against their will, on land to live, for a period of time, with the
they have no connection to. It is a story characters of Cloudstreet and the spirits
about being homeless and making a new of the house, and to worry for them,
home. It is a story about culture, spirituality, want for them, and love with them.
#CLOUDSTREETMALTHOUSETIM WINTON ON CLOUDSTREET
I don’t pretend to understand the that I couldn’t account for, but just had to
phenomenon at all, but Cloudstreet seems dumbly acknowledge. A lot of people seemed
to have a life of its own, and since it was to feel the same way.
published in 1991 I’ve mostly been reduced to
Cloudstreet is a big, baggy story and finding
the role of quizzical onlooker. Note to self:
ways to bring it to life on stage was no
shrug and smile awkwardly.
simple business 20 years ago, and it can’t
Initially, I was a bit sceptical about the have gotten any easier since, so I appreciate
original Black Swan State Theatre Company/ Malthouse Theatre taking up the challenge
Belvoir St Theatre adaptation in 1998. I just with such brio. Mad buggers. Making theatre
couldn’t see how it could be done. But when isn’t for the faint-hearted. It takes a lot of art-
I finally saw the play I was shaken by its workers to lift something like this into view
emotional power and I came to realise that and bear aloft over the journey. Brave souls,
something special was happening up on stage all. I salute them.
Page 12—13S
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#CLOUDSTREETMALTHOUSEE
ON
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CAST & CREATIVE BIOS
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MAT THEW LUT TON ARIELLE GRAY BRENNA HARDING
DIRECTOR CAST CAST
Matthew Lutton is Malthouse Arielle is a performer, Brenna is one of Australia’s
Theatre’s Artistic Director theatre-maker, puppeteer, most exciting young actors.
and Co-CEO. Prior to this, voice-over artist and Theatre credits include The
he was Malthouse Theatre’s improviser. She is a founding Wolves (Belvoir), The Almighty
Associate Director and the member of The Last Great Sometimes, The Bleeding Tree
Artistic Director of ThinIce Hunt theatre company and (Griffin Theatre Company), The
in Perth. Directing credits for has created, performed in and Gulf (Lume Productions) and
Malthouse Theatre include toured original, inventive and Jumpy (MTC/STC). Television
Melancholia, Bliss, Black Rider: engaging theatre. Malthouse credits include Black Mirror,
The Casting of the Magic Theatre credits include Picnic Puberty Blues, Secret City, The
Bullets, The Real and Imagined at Hanging Rock. Credits for Code, My Place, Packed to the
History of the Elephant Man, The Last Great Hunt include Rafters, A Place to Call Home
Away, Edward II, Picnic at Lé Nør (Perth Festival), The and Glitch. Film credits include
Hanging Rock, I Am a Miracle, Advisors, Stay With Us (as The Turning, which premiered
Night on Bald Mountain, The Director), Monroe & Associates at the 2012 Melbourne
Bloody Chamber, Dance of (Sydney Festival), Improvement International Film Festival.
Death, Pompeii, L.A., On the Club, Falling Through Clouds Brenna is on the board of
Misconception of Oedipus, (Sydney Festival), All That anti-homophobia organisation
Die Winterreise and Tartuffe. Glitters, Old Love, Minnie and Wear it Purple and founder
For STC he has directed The Mona Play Dead (Brisbane of the Sydney-based feminist
Trial, The Mysteries: Genesis Festival) and the Helpmann group Moonlight Feminists.
and The Duel. Other directing Award nominated productions Brenna was the recipient of
credits include Love Me Tender New Owner and It’s Dark the 2014 Marie Bashir Peace
for Belvoir and Don’t Say the Outside. Other theatre credits Prize and a 2012 Logie Award
Words for Griffin Theatre include My Robot (Barking for Most Popular New Female
Company. His opera directing Gecko Theatre). A Midsummer Talent. She was nominated for
credits include Make No Noise Night’s Dream, The Dark Room a Graham Kennedy Award for
for the Bavarian State Opera, and Pool [No Water] (Black Most Outstanding New Talent
Strauss’ Elektra for Opera Swan State Theatre Company) and an AACTA Award for Best
Australia and West Australian and the Blue Room Theatre Young Actor. Brenna was a 2018
Opera and Wagner’s The Award-winning Laika: A Staged finalist for the Heath Ledger
Flying Dutchman for New Radio Play (Second Chance Scholarship. She is currently
Zealand Opera. Theatre). completing a Bachelor
of Communications and
Creative Intelligence and
Innovation at UTS.
Page 14—15CAST & CREATIVE BIOS
NATASHA HERBERT BERT L ABONTÉ EBONY MCGUIRE
CAST CAST CAST
Previous work with Malthouse Bert is one of Australia’s Ebony is an actor, writer,
Theatre includes Trustees, leading actors. Malthouse facilitator and a WAAPA
Away, On the Misconception Theatre credits include I Am graduate. Cloudstreet is
of Oedipus, Happiness, Kitten, a Miracle, Timeshare and The Ebony’s Malthouse Theatre
Speaking in Tongues, Rapture, Good Person of Szechwan. debut. Her theatre credits
Still Angela, Black Sequin Dress, Select theatre credits include Casting Doubts
Honour, Love Child and Wolf. include The Book of Mormon (WAAPA), What Do They
Natasha has also appeared (Watchtower Productions), Call Me? (The Blue Room),
in The Father, Neighbourhood All My Sons and The Grenade Kep Kaatijin (Yirra Yaakin
Watch, The Dreamlife of (STC), Dreamlover (GFO), Theatre Company), The
Butterflies, God of Carnage, Phedre (Bell Shakespeare), Fever and The Fret (Yirra
Pillowman, The Balcony, The Birdland, Rupert, Elling, The Yaakin/National Playwriting
Three Sisters, Hysteria, I’m Not Mountaintop, Clybourne Park, Festival), Coranderrk (Ilbijerri
Rappaport and I Hate Hamlet Next to Normal, A Behanding Theatre Company), A Scandal
(MTC), War Horse (Global in Spokane, Richard III, The in Weimar, Outside In (wit
Creatures), The Unspoken Hypocrite, Don Juan in Soho incorporated) and Caliban
Word is Joe, The Large Breast (MTC), When I Fall in Love - The (Western Edge Youth Arts).
or the Upside-down Bell, Nat King Cole Story, Much Ebony was a facilitator in
Inconsolable (Griffin), The Ado About Nothing and A Culture 2.0 | Respecting
Country (Belvoir), The Wall Midsummer Night’s Dream Yourself | Respect Your
(Ranters Theatre), Small Metal (Essential Theatre). Musical Culture workshop (Yirra
Objects (Back to Back Theatre) theatre credits include An Yaakin) and was a part of
and many more. Film credits Officer and a Gentleman, Let’s the development of the
include The Menkoff Method, Get It On, Chess, Kismet, Grey Shakespeare Sonnets in
X, Lake Mungo, Corroboree Gardens, Pippin, The 25th Noongar workshop (Yirra
and Boytown. Television Annual Putnam County Spelling Yaakin). She has participated
credits include Neighbours, Bee and Guys and Dolls. Select in creative developments
The Time of Our Lives, The Film credits include Animal for MTC, Black Hole Theatre
Doctor Blake Mysteries, City Kingdom and Rats and Cats. Company and Yirra Yaakin
Homicide, MDA and Stingers. Television credits include with Bell Shakespeare in 2018.
Natasha was awarded Green Wentworth, Winners and
Room Awards for Best Fringe Losers, Upper Middle Bogan,
Actress in Portrait of Dora and Lowdown, Wilfred, Sea Patrol,
for Best Ensemble in I Heart City Homicide, Bogan Pride,
John McEnroe and On the Neighbours and Blue Heelers.
Misconception of Oedipus. Bert received a Helpmann
Award for An Officer and
a Gentleman and has been
nominated for several Green
Room Awards.
#CLOUDSTREETMALTHOUSEE
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CAST & CREATIVE BIOS
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MIKAYL A MERKS IAN MICHAEL BENJAMIN OAKES
CAST CAST CAST
Mikayla is a Perth-based Ian is an award-winning actor Benjamin is a Geelong-based
actor and a recent graduate and Noongar man from actor and sound artist. He is
of WAAPA. Cloudstreet is Western Australia. Credits for a member of Back to Back
Mikayla’s first mainstage Malthouse Theatre include Blak Theatre’s Theatre of Speed
production since graduating Cabaret. Other theatre credits and a founder of sound art
in 2018. Mikayla will also include Our Town, Let the group Noise Scavengers.
feature in Perth’s Fringe Right One In (Black Swan State He recently appeared in
World production of FRONT, Theatre Company), national Matchbox Pictures’ and
which is a part of the 2019 and international tour of HART Back to Back Theatre’s co-
Summer Nights program. (She Said Theatre), Flashblaks, production, Oddlands. Ben
Northwest of Nowhere (Ilbijerri also featured in the recent
Theatre Company), The Kid short film Friend for Life and
(MTC) and the Yellamundie several training videos for
First Peoples Playwriting the NDS. He has performed
Festival (Sydney Festival). in many Theatre of Speed
Screen credits include Where live productions since 2015.
are the Warriors?, Needle Ben has performed with
and Offspring. He was the artists such as The Amplified
recipient of Melbourne Fringe Elephants, Adam Simmons,
Festival’s Most Outstanding Belinda Woods, James Hullick
Indigenous Actor in 2013 and and Dave Brown. Ben was
2015 and was awarded Best diagnosed with autism at the
Emerging Artist at Adelaide age of four.
Fringe in 2016. In 2018, he
was the assistant director
for Skylab (Black Swan State
Theatre Company/Yirra Yaakin).
Currently, Ian is the Resident
Artist at Black Swan State
Theatre Company. He is
a WAAPA graduate.
Page 16—17CAST & CREATIVE BIOS
SCOT T SHERIDAN GUY SIMON GREG STONE
CAST CAST CAST
Cloudstreet is Scott’s Guy is an Australian actor and Greg Stone is well known to
Malthouse Theatre debut. a NIDA graduate. Credits for Australian theatre audiences
Recent credits include Luna Malthouse Theatre include and has performed in over
Gale (Ensemble Theatre) and Blaque Showgirls. Other credits 80 productions with major
In a Dark Dark Wood (Barking include The Harp in the South, theatre companies. Theatre
Gecko Theatre). Other credits The Battle of Waterloo, Stolen credits include A Doll’s House
include The Witches (Griffin), (STC), Jasper Jones (Belvoir/ Part 2, The Weir, Glengarry
Rupert (MTC), Hamlet (Bell MTC), The Myth Project: TWIN Glen Ross, Clybourne Park,
Shakespeare), The Importance (MTC), Black Diggers (QTC), Poor Boy, Blackbird, A Little
of Being Earnest, Arcadia, Strangers In Between (Cameron Night Music, Angels In America
When the Rain Stops Falling, Lukey), This Fella, My Memory (MTC), Oklahoma!, Funny Girl
A Midsummer Night’s Dream (Moogahlin Performing Arts), I (The Production Company),
(Black Swan State Theatre am Man (Browns Mart Theatre), Hir, Hamlet, Babyteeth, Stuff
Company), Cyrano de Bergerac, Junction (Bakehouse Theatre) Happens (Belvoir), Ladies
Romeo and Juliet, Macbeth, and Lucky (IPAN Productions). in Black (QTC/MTC), Who’s
Much Ado About Nothing, Film credits include Undertow Afraid of Virginia Wolf (Black
Othello, Love’s Labour’s Lost, and Around the Block. Swan State Theatre Company)
The Comedy of Errors, Twelfth Television credits include The and Once (GFO Attractions).
Night, The Tempest (Sport Wrong Girl, Redfern Now, A Television credits include
for Jove), Drake the Amazing Chance Affair and Occupation: Ms Fisher’s Modern Murder
(Darlinghurst Theatre) and Native. In 2017, Guy received Mysteries, Glitch, The Doctor
Stones in His Pockets (Critical a Helpmann Award for Best Blake Mysteries, Underbelly,
Stages). Screen credits Actor in a Supporting Role in a Winners and Losers, Neighbours,
include Peter Allen: Not the Play for Jasper Jones. Secret City, The Ex-PM and
Boy Next Door, Careless Love Offspring. Select film credits
and Marley Someone. Scott include The Sunset Six, Is
is a creative with General This the Real World, Swerve,
Legends and has written and Oranges and Sunshine, Van
featured in the short films Diemen’s Land and The Bank.
Undeadicated (Austin Film Greg has been nominated
Festival) and Unwanted Friend for several Sydney Theatre,
(Tropfest). Scott is a WAAPA Helpmann and Green Room
graduate and has studied Awards. He was awarded a
at The Second City and iO Helpmann Award and Green
Theatre Chicago. He is a proud Room Award for Best Male
MEAA member. Actor in Stuff Happens.
#CLOUDSTREETMALTHOUSEE
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CAST & CREATIVE BIOS
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ALISON WHY TE ZOË ATKINSON PAUL JACKSON
CAST SET & COSTUME DESIGN LIGHTING DESIGN
Alison Whyte is one Zoë studied Design Paul Jackson is a multi-
of Australia’s most for Performance at the award-winning designer who
accomplished and Prague Academy of the works across Australia and
celebrated actors, with an Performing Arts, the internationally. Design credits
outstanding reputation in International Institute of include Blasted, Melancholia,
theatre, film and television. Figurative Theatre and the Bliss, The Testament of Mary,
Malthouse Theatre credits Institute de la Marionette. The Real and Imagined History
include Love and Information, Malthouse Theatre credits of the Elephant Man, Black
The Bloody Chamber, include The Odyssey, On the Rider: The Casting of the Magic
Optimism and Tartuffe. Select Misconception of Oedipus, Bullets, Away, I Am a Miracle,
theatre credits include Faith Picnic at Hanging Rock and Picnic at Hanging Rock,
Healer (Belvoir/MTC), The Black Rider: The Casting Meow Meow’s Little Mermaid
Testament of Mary, Travelling of the Magic Bullets. Other (Malthouse Theatre), Mary
North (STC), Last Man works with Matthew Lutton Stuart, Love and Information,
Standing, Clybourne Park, All include Elektra (WA Opera) The Histrionic, The Trial (STC/
About My Mother, Richard and The Flying Dutchman Malthouse Theatre), True
lll (MTC), Hand to God (New Zealand Opera). Zoë West, The Mysteries: Genesis
(Vass Theatre Productions), was the Artistic Associate and (STC), Merchant of Venice,
Australia Day (MTC/STC), Designer for Perth Festival’s Othello, As You Like It, Phedre,
Summer of the Seventeenth opening events HOME in Tartuffe, Julius Caesar (Bell
Doll (MTC/Belvoir) and 2016, Boorna Waanginy in Shakespeare), Seventeen,
Rising Water (Black Swan 2017 and The Museum of Water Nora, Oedipus Rex (Belvoir),
State Theatre Company). in 2018. Zoë is currently Arbus and West, Gloria, The
Select film credits include designing Life of Galileo with Children, Three Little Words,
The Dressmaker, Centreplace, Belvoir. She has received a Hay Fever and Di and Viv
The Jammed, Subterano and Helpmann Award for Best and Rose (MTC). Paul has
Saturday Night. Television Costume Design for The received a Helpmann Award, a
credits include The Kettering Odyssey and a nomination for Sydney Theatre Award, seven
Incident, Glitch, Playing Black Rider: The Casting of the Green Room Awards, three
For Keeps, The Doctor Blake Magic Bullets. Australian Production Design
Mysteries, Miss Fisher’s Guild Awards and 31 Green
Murder Mysteries, Tangle, Room Award nominations. He
Satisfaction and Frontline. is the current recipient of an
Alison has received multiple Australia Council for the Arts
industry awards. Fellowship. Paul is a graduate
of the University of Melbourne
and RMIT.
Page 18—19CAST & CREATIVE BIOS
J. DAVID FRANZKE ELIZABETH DRAKE KAT T OSBORNE
SOUND DESIGN COMPOSITION ASSOCIATE DIRECTOR
Malthouse Theatre credits Elizabeth Drake is a pianist Katt is a director, producer
include Away, Picnic at and composer. Malthouse and theatre-maker. She
Hanging Rock, Night on Bald Theatre credits include Cargo, is currently the Artistic
Mountain, Pompeii, L.A., and Still Angela and Black Sequin Director of Riptide Youth
The Odyssey. Select design Dress. Other credits include Performance Company. She
credits include Australia Day Nightfall (Adelaide Festival), was a co-founder of The Last
(STC/MTC), The Wonderful Top Girls (MTC) and Grounded Great Hunt and a Resident
World of Dissocia, Venus & (Red Stitch). Select film Artist at Black Swan State
Adonis (Bell Shakespeare/ credits include Looking for Theatre Company. Directing
Malthouse Theatre), Come Grace (Venice Film Festival), credits include Unheimlich
Away with Me to the End of the Japanese Story (Cannes Film (Independent/Performing
World, Song, Intimacy, Holiday Festival), Road to Nhill, For Lines), The 1’s and the 0’s,
(Ranters Theatre), The Odd Love or Money and Black And Everything in Between,
Couple, The Beast, The Joy Man’s Houses. Pianist credits Walk With Me, Some Kind of
of Text, The Grenade, August: include Perth International Disaster, Queen Leah (Riptide),
Osage County, Don Juan in Arts Festival, WOMADelaide, The Crossing, Elephents,
Soho, Birthrights, The Recruit IWAKI Auditorium ABC Minnie and Mona Play Dead
(MTC) and Aviary (Balletlab). Classic FM and Ballroom (The Last Great Hunt) and
Film credits include X and Flinders Street Station. many other independent
Acolytes. David has received Elizabeth has been awarded theatre productions. Opera
Green Room Awards for a Green Room Award, a AFI- directing credits include
Composition and Sound AACTA Award for Feature Strauss’ Ariadne Auf Naxos
Design for Away, Picnic Film Original Music, an and Menotti’s The Old Maid
at Hanging Rock, Pompeii, APRA-AGSC Feature Film and The Thief (Operabox).
L.A. and for Outstanding Screen Music Award and a Assistant directing credits
Contribution to Design and Film Critics Circle Award. include Our Town, Xenides, The
Technology for Skin Flick. Lady Aoi (Black Swan State
Theatre Company), Dr Seuss’
The Lorax (The Old Vic), The
Removalists (Perth Theatre
Company) and Antigone
(ThinIce). Katt was a recipient
of a WA Young Achiever of
the Year for Arts, a Golden
Key Honorary Membership, a
PAWA Best New Play Award
and a 2013 Fringe World
Martin Sims Best New WA
Work Award.
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NATALIE ROWAN DANAE CRAWFORD ANGUS ROBSON
STAGE MANAGER ASSISTANT STAGE MANAGER ASSISTANT STAGE MANAGER
Natalie is an experienced Danae has a Bachelor of Angus Robson is a theatre
stage manager working in Performing Arts in Stage production all-rounder
Australia and internationally. Management from WAAPA. working across Australia. His
Cloudstreet is her first Cloudstreet is her first previous roles include stage
Malthouse Theatre production. mainstage production. Danae manager, production manager
Credits include Soweto Gospel has just completed a stage and an operator for music,
Choir, Operation Ouch Live management internship on contemporary dance and ballet.
(Andrew Kay and Associates), Harry Potter and the Cursed He has worked with Chunky
Emma Matthews: The Space Child in Melbourne. During Move, Tracks Dance Company,
Between (Arts Centre her time at WAAPA, she was Artback NT and Browns Mart
Melbourne), Sleeping Beauty, involved in multiple productions Theatre amongst others. Angus
A Knight Avengers Tale, The in various roles. She has stage has a Bachelor of Contemporary
Adventures of Peter Pan and managed for several Perth Music from Charles Darwin
Tinkerbell, Cinderella, Aladdin Fringe World Festival shows University.
and his Wondrous Lamp, Snow and the 2018 Propel Youth Arts’
White Winter Family Musical, KickstART Festival music stages.
(Bonnie Lythgoe Productions), In 2018, Danae was awarded
Common Ground (Chunky WAAPA’s Peter Smith Award for
Move), Calamity Jane (One Stage Management.
Eyed Man Productions),
The Play That Goes Wrong
(Australian Tour Lunchbox
Theatrical Productions), Little
Shop of Horrors (Luckiest
Productions/Tinderbox
Productions), Santa Claus
and The Christmas Adventure
(Jamie Wilson Productions),
Cinderella, Aladdin (Blue
Genie Entertainment), The
Palm Court, September Tide,
(Charles Vance Productions),
Dirty Dusting, Motherhood
The Musical, Menopause The
Musical (Robert C Kelly)
and Mother Goose (Wish/
Imagine Theatre).
Page 20—21#CLOUDSTREETMALTHOUSE
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CURRICULUM FOCUS
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Cloudstreet’s mature themes and It also aligns with the Victorian
content means it is best suited Curriculum Assessment
to senior English and Literature Authority’s [VCAA] text
studies. It is an ideal text for: selection guidelines because:
• Year 10 English; • It is an Australian text with enduring
• Year 10 English elective subjects; artistic value and literary merit;
• Unit 1 English/EAL; • It provides students with opportunities to
engage in the Cross-Curriculum Priority:
• Unit 1 Literature or;
Learning about Aboriginal and Torres
• Cross-curricular study (for example, VCE Strait Islander histories and cultures;
subjects such as: English and Theatre
• It raises interesting issues and
Studies; English and Drama; Literature and
challenging ideas while offering an
Theatre Studies or Literature and Drama).
affirming perspective;
• Is an accessible text for students
working at different levels and from
different backgrounds, and
• It provides students with an opportunity
to view and experience a complete play
and develop an informed appreciation
of literature.
Page 22—23This Prompt Pack contains a wide range of teaching and learning activities
and assessment advice for the subjects listed below. It also contains
resources and hyperlinks to external sources to provide additional support
to teachers and students.
SUBJECT YE AR FOCUS RESOURCES
LEVEL
ENGLISH 10 YEAR 10 ENGLISH / Preliminary and post
(Levels 9 and 10 of viewing formative
Victorian Curriculum) activities
Level 9: / Summative
(VCELY441) (VCELT454) assessment advice
(VCELY442) (VCELY456) / Supplementary
Level 10: resources
(VCELY486) (VCELT484)
(VCELY479) (VCELT460)
(VCELT462) (VCELY467)
(VCELA470) (VCELA471)
(VCELY469) (VCELA474)
(VCELY480)
CRITICAL AND Meta-Cognition:
CREATIVE (VCCCTM052)
THINKING
CAPABILITY
VCE ENGLISH/ 11 Unit 1, Area of Study 1:
ENGLISH AS AN Reading and creating texts
ADDITIONAL
LANGUAGE [EAL]
VCE LITERATURE 11 / UNIT 1:
Approaches to literature
/ AREA OF STUDY 1:
Reading practices
/ AREA OF STUDY 2:
Ideas and concerns in texts
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9 #CLOUDSTREETMALTHOUSEAMENDMENTS TO ORIGINAL SCRIPT
If students are studying the script Malthouse Theatre has provided access to
version of Cloudstreet rather than these amendments for schools. The script
amendments are available here.
the novel it is important to note
that the Director Matthew Lutton, The changes to the original script
mean that the scene order and content
in close consultation with playwright is slightly altered for the Prologue
Justin Monjo, has made some and scenes 1,2,3,4 and 8. There
amendments to the original script are also changes to some scenes in
of Cloudstreet. Teachers should use Part Two and Part Three. Important
the original Currency Press script directorial and casting decisions such
as changing the character of BLACK
of Cloudstreet in conjunction with MAN to STORYTELLER have been
these amendments. influenced by the script amendments.
It is recommended students familiarise
themselves with the amendments prior to
seeing the play.
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Page 24—25 —#CLOUDSTREETMALTHOUSE
CONTEXTUAL INFORMATION
CLOUDSTREET – THE HISTORY OF THE NOVEL
Cloudstreet, released in 1991, was Tim Winton’s Incredibly, the manuscript of Cloudstreet
fifth novel. Prior to its release, Tim was firmly was nearly lost at Rome Airport. The Winton
on the radar of Australian readers and had family had been living overseas supported
already established himself as a new and
by a grant from the Literature Board of the
important voice in the Australian literary
landscape. He had won many awards for his Australia Council. They travelled to Ireland and
previous writing. So, when Tim’s eagerly awaited Greece and stayed in an apartment in Paris.
fifth novel, Cloudstreet, hit the shelves in During this time– circa 1989– Tim penned the
March 1991, it was enthusiastically embraced by beginnings of Cloudstreet. Tim, his wife and
Australian readers, who had developed a thirst young child were returning to Australia when
for Tim’s exciting and unique writing style. The
the manuscript that Tim had been working on
initial small print run sold out in a week.
was accidently left on the bus. Fortunately, an
Cloudstreet received multiple awards including:
observant and very persistent Italian bus driver
the 1991 Miles Franklin Award, the 1991 NBC
chased Tim and kept pointing back at the bus.
Banjo Award for Fiction, the 1991 Western
Australian Premier’s Book Award for Fiction and Finally, Tim saw the grey, vinyl sports bag.
the 1992 Deo Gloria Award (UK). Within a very ‘…I could have kissed the guy. It was only half
short time, Cloudstreet had embedded itself into a book at that stage, a couple of years’ work–
the hearts and minds of Australians. Creatives
handwritten, typescript and the carbon copy,
from other disciplines have paid tribute to the
but I couldn’t have reproduced it. I think it
text, realising it through theatre, television
and opera. The novel is considered an iconic scares me more to think about it now.’
Australian text. —TIM WINTON
CLOUDSTREET – THE CREATION OF THE PLAY
Playwrights – Nick Enright and Justin Monjo
Justin Monjo, born in the USA in New York, Justin enlisted his former NIDA teacher
is a screenwriter and television producer. Nick Enright AM to work with him on this
He studied at NIDA (National Institute of adaptation. Nick was a distinguished and
Dramatic Art), graduating in 1984. Justin award-winning Australian playwright who
had already adapted Tim Winton’s novel, That wrote many highly regarded plays over his
Eye, the Sky, for stage when he embarked on career including On the Wallaby (1982),
adapting Cloudstreet in 1996. Daylight Saving (1990), Property of the Clan
(1993) and Blackrock (1997). Tragically,
Nick passed away from melanoma in 2003.
Nick was awarded an Order of Australia
posthumously. The movie Happy Feet (2006)
is dedicated to Nick.
ON
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Page 26—27 —TIM WINTON – THE NOVELIST
Timothy Paul Winton was born on the 4th of I don’t think there’s any mystery why we
August in 1960 in Perth, Western Australia. would be drawn to it – I think there’s some
This article by Aida Edermariam for The kind of ancestral yearning. We all came from
Guardian gives a wonderful and insightful water. It feels like home…’
account of his life story. / Tim Winton, ABC News
/ The Guardian, 2008
A fierce advocate for the coastal and
There is a continuous motif of water in Tim’s ocean environment, Tim has been proactive
writing. He has always lived near the coast and in working to save marine environments
has actively enjoyed the water. He has been and creatures. He has written texts on
a lifelong recreational surfer and boater. The the subject and has spoken for the
river and each character’s interaction with Australian Marine Conservation Society.
water in the Cloudstreet is highly charged In 2003 he was awarded the Australian
and significant. Fish is the most effected by Society of Authors Medal for his
his near drowning and then is plagued by his environmental advocacy.
longing to return to water. Below is a quote
Tim has had an illustrious career. You can
that gives insight into Tim’s affinity with water.
find more information on the novels and
‘When you’re in the water you’re almost stories he has published on Britannica
weightless and that’s freedom from gravity. here. This is a link to the novels and stories
I find it endlessly exciting. he has published to date. The link also
Let’s face it, you do nine months as a free diver cites a list of his numerous awards. His
in your mother’s womb; you belong to a planet most recent novel, The Shepherd’s Hut,
that’s mostly water; your body is mostly water. published in 2018 is missing from the list.
CLOUDSTREET – THE HISTORY OF THE PLAY
The play, which was the product of a In June 2001 it had a return season in
collaboration between Company B (now Sydney at the Theatre Royal. In July 2001
Belvoir Street Theatre) and Black Swan State it played at the Southbank Playhouse (now
Theatre Company based in Western Australia, QPAC) in Brisbane. Wherever the play went
premiered at the Sydney Festival on the 3rd it continued to enchant, inspire and deeply
January, 1998. Appropriately—considering move its audiences. Every night the play
Tim Winton’s strong connection to the sea would receive a standing ovation. Cloudstreet
and water—it was staged in a warehouse at went on to tour internationally.
Berth 9, Darling Harbour (aka the King Street ‘Simply awesome. Cloudstreet is a winner
Wharf). The show was five and a half hours from beginning to end … something native,
long. But audiences did not baulk at the time new, vast and unforgettable.’
commitment; they adored the production. —SYDNEY MORNING HERALD
Following the Sydney Festival the play ‘The audience is hooked into a dialogue
toured to Perth where it played in the that often touches the soul.’
Freemantle Dock Theatre. This was followed —THE AGE
by a season at the Adelaide Playhouse in
Monjo and Enright’s play adaptation had
1999 and then it moved into the Merlyn
earned itself a brilliant reputation in the
Theatre at Melbourne’s Playbox Theatre
world of theatre.
Company (now Malthouse Theatre).
#CLOUDSTREETMALTHOUSEON E A S2019 S —— — Page 28—29
#CLOUDSTREETMALTHOUSE
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PLOT OVERVIEW
—
Set in Western Australia, Cloudstreet is an epic novel that spans three
decades, 1940s, 1950s and 1960s. The story primarily revolves around two
families; the Lambs and the Pickles. The families are very different. But,
both have experienced hardship and disappointment. The one thing they
have in common, is that they share an address; Number 1, Cloud Street in an
unidentified suburb in Perth.
The Pickles family consists of: Sam (father), are typical boys; more concerned with spending
Dolly (mother), Rose (eldest daughter), Ted time with their friends, and when they are older,
(first son) and Chub (second son). Sam is an chasing girls. The Pickles have been living in Uncle
erratic breadwinner. He doesn’t seem to be able Joel’s hotel in Geraldton, Western Australia. The
to settle into stable work. Therefore, the Pickles family is down on its luck. Dolly and the children
family do not have a regular income. He is an live in the hotel while Sam works offshore on
incorrigible gambler who wastes any windfalls an island collecting guano (seabird faeces/
on betting. The Shifty Shadow governs Sam’s phosphate) used to make fertiliser.
life choices. The Shifty Shadow is luck and Sam
believes that it moves. Unfortunately, Sam has a catastrophic winch
accident and the family is precariously close to
‘...It was as though luck made choices, that it falling on even harder times. Then in another
could think. If you greeted it, it came to you;
twist of events, Uncle Joel, unexpectedly
if you shunned it, it backed away.’
dies and leaves two thousand pounds and his
Dolly is a troubled, lonely and bitter woman property in Perth–Number One, Cloud Street–
damaged by her past and further demoralised to Sam. The will imposes the condition that
by what she perceives as her husband’s Sam must not sell the house for twenty years.
uselessness. She spends most of her time in the So, the Pickles family moves from Geraldton to
pub encouraging the advances of other men, Perth and take up residence in the ramshackle
neglecting her responsibilities. Rose is a bright, old house by the railway line. The suburb is not
capable girl. But, she is forced to look after her named and Tim Winton has never revealed which
father and the two boys to compensate for her
suburb he had in mind, if he in fact had a specific
mother’s absence and neglect. Ted and Chub
one. But the general consensus seems to locate
Page 30—31the house in the West Leederville, Subiaco, stolen from their people and country, were
Shenton Park area. treated appallingly. Many tried to escape but
they were always caught and brought back to
Due to the accident, Sam is unable to work. He
the house. Finally, one of the girls poisoned
loses the money they have been left so their
herself in desperation. The widow sent the
situation is now dire. They have a huge house
remaining girls away and died soon after. The
but no money. Eventually, Sam decides to let
house was locked up with all the misery and
half the house out. This is when the Lambs
despair trapped inside it. The restless spirits
arrive on the scene and the epic story of the
of the girls and the old woman haunted the
two families ‘...living in the great continent of a
house and occasionally the living got a sense
house...’ begins in earnest.
of their presence. As a result of his brush
The Lambs family: Lester (father), Oriel with death, Fish Lamb can see and commune
(mother), Quick (eldest son), Fish (second with the spirits, he seems to be existing in a
son), daughters Hattie, Elaine and Red, and limbo between the worlds of the living and
Lon (youngest son) are living a similar life of the dead.
hardship in Margaret River, WA. They are a The novel is broken down into smaller
deeply religious family who work hard and named ‘chapters’. The titles give the reader
conscientiously to overcome the difficulties a tantilising sense of what may happen. For
that life confronts them with. The Lambs are example, in the ‘chapter’ entitled ‘A house
a more united family than the Pickles; they on Cloud Street’, Sam Pickles learns of his
have a more robust and honest family dynamic. inheritance. These small ‘chapters’ are like
However, they also become the victims of separate episodes. Each character has many
tragedy when Fish is nearly drowned while episodes written for them over the span of
night fishing in the river. His mother Oriel the novel. This structure was used to create
frantically tries to revive Fish, pounding his the separate scenes in the script.
chest and pleading with the Saviour Jesus to
restore him to life and his family. Fish does So these three story strands; the Lambs, the
start to breathe again but due to oxygen Pickles and the Indigenous presence, run
starvation he suffers irreversible brain damage. alongside each other and, occasionally overlap
when the characters move into another’s
As a result of Fish’s acquired brain injury the
physical, emotional or spiritual space.
Lambs lose their faith and decide to leave
Margaret River for Perth, Over the epic course of the narrative the
‘…you can’t stay in a town when everything characters deal with loss, guilt, hardship,
blows up in your face—especially the only love, and joy. The characters are all flawed
miracle that ever happened to you.’ and vulnerable. Winton’s masterful writing
allows the reader to connect with each
The Lambs rent half of Number One, Cloud character on a visceral and empathetic
Street. They work hard, setting up a small level. Cloudstreet represents a microcosm
grocery business that does very well. But of Australian society during the mid 1900s.
there are tensions and griefs that the Lambs Therefore, it is very easy to identify with
have to overcome. the experiences and memories in this
The third strand of the story involves the magnificent tale.
Indigenous girls who inhabited the house in
the 1930s. A wealthy, but amoral woman, who
was encouraged by an Anglican priest to turn
the house into a mission for Indigenous girls,
owned Cloud Street. The woman followed
the priest’s suggestion. But, she was cruel by
nature and the poor girls, many of whom were
#CLOUDSTREETMALTHOUSEE
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AUSTRALIA 1943 – 1963
—
The story is set over three significant decades in Australian history.
History is referenced often in Cloudstreet. Following the end of World War I, Australia
Although mostly founded in fact, Winton began to grow in prosperity and national
a consummate storyteller, sometimes takes confidence. The war had been won. Peace had
poetic licence, blurring fact and fiction. arrived. The economy was beginning to pick
For example, the successful racehorse up and jobs were available. Families began to
Eurythmic did exist and was Perth owned. feel as though they could start to make good
But Eurythmic wasn’t owned by Sam Pickles’ lives for themselves. But, it was still a struggle
uncle; Joel Morris Bloom. However, other for many who had lost their family members,
historical events such as the story of the their way or their health during the war. The
Nedlands Monster, Eric Edgar Cooke, are younger generation–like the Lamb and Pickles
faithful to events. children–were at the coalface of a new dawn.
Australia with a population of nearly 7 million The 1950s heralded a new age of an
people was barely in recovery from World War I industrious, more affluent Australia. Large-
(1914–18) and The Great Depression (1930 scale manufacturing started to grow. Holden
–36) when World War II broke out in 1939. cars is one example of a successful brand. The
Australia was involved in World War II between Australian people generally had greater social
September 1939 and September 1945. This and financial stability. Families were able to
was a time of great anxiety and uncertainty. settle down, purchase homes and focus on
Especially, for the more geographically growing and educating their children. Women,
isolated Australian west coast population, who had taken on many working roles during
who felt uncomfortably close to the Japanese the war, were back being homemakers for
invasion of the Philippines, Singapore and the most part. However, a percentage of
New Guinea, the bombing of Pearl Harbour, women worked or embarked on careers and
Darwin, Broome, and Cairns. The Australian higher education. Waves of post-war migrants
population was weary and psychologically from Europe had arrived in Australia. The
scarred by strife. The parents in Cloudstreet government used the slogan ‘Populate or
were the children of this era and had grown Perish’. The most significant group were the
up only knowing turmoil and hardship. This ‘Ten Pound Poms’ followed closely by the
context goes a long way to explaining some of Italian and Greek migrants.
their behaviours as they search for certainty,
stability, luck, and success. Social conditions for the majority of the
population were very good. There was still an
Cloudstreet seems to start just shy of the
obvious class structure; working class, middle
end of World War II; probably circa 1943.
class and the upper class. This would probably
Politically and psychologically, Australia
have been more evident in an isolated city
still felt very attached to England and the
like Perth. Black and white television was
Commonwealth. This would have been
launched in Australia in 1956. Perth got TV
particularly obvious in Perth where a large
broadcasting in the late 1950s. Until the
percentage of the population was English
advent of TV, most people regularly attended
migrants. Australia also formed a strong
the cinema. Sir Robert Menzies was the Liberal
allegiance to America during the latter part of
Prime Minister. A position he held for 20 years
World War II. The ‘Yanks’, as they were fondly
between 1949 and 1966–almost the entire
called, were romanticised. They represented
span of Cloudstreet. The end of the 1950s was
protection and were regarded as the exemplar
characterised by a rebellious undercurrent
of democracy. The presence of Dolly’s lover,
rising. This was primarily led by the younger
the American pilot, represents the American
generation. Rock and Roll reared its head and
presence in Australia at that time.
young Australians followed the lead of other
Page 32—33young people in UK and America, Much to another war. They vehemently and actively
the unease of their elders, the young began opposed it, protesting on the streets and
their search for individual freedoms. defying efforts to conscript the young
men. The Peace Movement that found
The population had grown to nearly 10.3
its roots in America took firm hold of
million by 1960. Australia was becoming a
Australia’s youth.
much more culturally diverse nation. But
there was racism and antagonism towards the In conjunction with these changes, larger
‘newcomers’ from some quarters. The 1960s numbers of women were entering the
was an era of significant change for many workforce and the traditional family
groups in Australian society. The middle class model was beginning to alter to suit
had grown with the arrival of the post-war different, individual needs. The Civil Rights
babies nicknamed ‘The Baby Boomers’. The Movement brought the conversation
Lamb and Pickles children were a little older about racial tolerance to the forefront.
than this generation. However, they would However, our own Indigenous people
have been experiencing a sense of change remained ignored, unsupported and under-
represented for the most part. Massive
around them.
shifts in culture were also occurring.
One of the most significant movements was Contemporary music was becoming more
that of the young who demanded greater mainstream. Travel was more accessible
individual independence and freedom. In for middle class families. Access to books
Cloudstreet Quick and Rose both leave and popular films from overseas was more
home against their parents’ wishes to immediate. Eating out at the pub or the
search for a different life. This movement Chinese restaurant or having takeaway fish
caused great inter-generational conflict. and chips or a hamburger was affordable
The traditional societal values of parents for the average family. Many Australians
and elders were being brazenly challenged. owned a caravan or a beach house. Annual
Young people wanted sexual and personal Christmas holidays were usually spent by
freedoms. They were collectively defying the sea.
social mores such as marriage before sex. So, Australia was growing up. It was
The social stereotypes of the woman being developing its own unique identity and
a stay-at-home mother and the father culture. It’s values were undergoing a brisk
being the sole breadwinner did not hold audit at the hands of the younger rebels
currency anymore. The traditional model and the older thinkers in society. The 60s
of the nuclear family living happily in the was a massive time of change throughout
suburbs was being rejected. the nation.
The younger generation were also politically
engaged and proactive. The main cause
of angst was Australia’s involvement in
the Vietnam War. Australia’s involvement
began in 1962 when military advisers were
sent over. Australia joined the Americans
in this theatre of war to stop the spread of
Communism, which was seen as a threat.
This potential spread was called ‘the Domino
Theory’; meaning Communism might come
down to Australia because of our proximity
to Asia. Many Australians, particularly the
young, were appalled at the thought of
#CLOUDSTREETMALTHOUSEON E A S2019 S —— — Page 34—35
INDIGENOUS AUSTRALIANS
But there is a very important group In May 2000, 250,000 people walked across
of Australians who seem to be Sydney Harbour Bridge in support of an
apology to the Stolen Generations and for
constantly missing from our nation’s recognition of Indigenous people in the
history. The Indigenous people of constitution. In an historic moment for the
Australia are often absent from the nation, Prime Minister Kevin Rudd gave an
national conversation. apology speech to the Stolen Generations of
the nation on the 13th February 2008. It could
During the 1900s, despite serving in all be suggested that in Winton’s story, the girls
deployments of Australian defence services who were imprisoned in the Cloudstreet house
and having populations in all states, the represent the stolen children and the suffering
Indigenous people remained largely invisible of the Aboriginal people of WA. More recently
to governments and most of the mainstream there have been inroads into easing Indigenous
population. Just like the troubled spirits of suffering. Active steps have been taken
the Indigenous girls in the Cloudstreet house, to include the original people of Australia
they were ghosts in their own country. into the constitution. But, frustratingly, the
struggle that has been raging since 1995, to
In fact, this is still a troubling reality today
have Indigenous Australians recognised in the
on many levels. Aboriginal people and Torres
constitution, is still not satisfactorily resolved.
Strait Islanders only gained the right to vote
Some emotional statements from Indigenous
in federal elections in 1962—just when the
spokespeople sum up the urgent need for
story of Cloudstreet comes to an end. In a
resolution of this matter. There is still much
state election Queensland extended the healing to be done.
right to vote to these groups well after the
other states in 1965. A national referendum ‘…work towards constitutional recognition
of our prior ownership and rights’.
was held in May 1967. Ninety percent of the
—YOLNGU AND BININJ CLANS OF ARNHEM LAND TO
Australian population voted ‘Yes’ to counting KEVIN RUDD, JULY 2008
Aboriginal people and Torres Strait Islanders
‘…bring my people in from the cold,
in the national census, and for Indigenous
bring us into the nation’.
people to be subject to the Commonwealth
—GALARRWUY YUNUPINGU, DECEMBER 2009
laws rather than just state laws. ‘Sorry Day’
was instigated in May 1998. This day was ‘…for the nation’s soul’.
—LOWITJA O’DONOGHUE, THE INAUGURAL CHAIR
dedicated as a day of reconciliation between OF THE ABORIGINAL AND TORRES STRAIT ISLANDER
Indigenous and non-Indigenous people. COMMISSION, JUNE, 2011
#CLOUDSTREETMALTHOUSEE
ON
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THE ABORIGINAL PEOPLE OF
—
WESTERN AUSTRALIA
Tim has threaded the haunting of the vastness and remoteness of the state.
presence of the Aboriginal people Or, it was caused by the cultural and spiritual
ignorance and arrogance that the colonists
of Western Australia throughout displayed toward the local people; ‘natives’
his text. When the spirits appear, as they were called by the colonists. Or,
the reader or viewer has a sense possibly the greed and exploitive attitude
of mystery and feels that they are surrounding ownership of the land’s mineral
glimpsing or have entered another and pastoral wealth drove the desire to
control and eradicate the Aboriginal people.
world or realm. Some of the In all probability the appalling treatment of
encounters are charged with sorrow the original custodians of the land was driven
and horror. Other moments are by a combination of all these factors. The new
more magical and create feelings settlers brought the knowledge of how to
of awe and wonder. All of these settle land from experiences on the eastern
seaboard. So, their ‘laws’ and practices were
episodes have either a nightmarish quickly and ruthlessly implemented. The
or dreamlike quality that hints at the Noongar, who had originally accepted the
present witnessing the past. colonists believing them to be the ghosts of
In 1826 a small garrison was established their ancestors returning to country, began
at Albany to deter French exploration and to realise that these new inhabitants of their
settlement of the southern coast. Then in country were culturally and socially very
1829, 41 years after the first settlement of different. For example, the new people killed
Australia at Sydney Cove, NSW, Captain and ate the swans and kangaroos without
James Stirling lead the first party of settlers compunction, but when a Noongar person
to Perth. It had been determined that the killed a sheep that person was severely
area around the Swan River would make an punished. Tensions increased as the colonists
excellent new British colony. Unlike the east began to clear and occupy the country and
coast colonies, this was to be a free settlement disrespect sacred sites. The Noongar very
with no convicts. Prior to the first settlement quickly found themselves under threat
of the Swan River Colony, the local Indigenous and eventually the killings started. At first
people, the Whadjuk—later grouped under the Noongars were shot as reprisal for killing
name of the larger nation called the Noongar– livestock or ‘stealing’ provisions. The Noongar
had inhabited the area 50 kilometers to north, retaliated, spearing colonists who had
east and south-west of the current CBD murdered their family members. The whole
of Perth, (Boorloo) for 65,000 years. The situation then spiraled out of control and the
western boundary was in place before the end hurt and anger still resonates today.
of the ice age that lead to the rise in sea levels Some of the worst examples of the
approximately 15,000 years ago. cruel treatment of the Aboriginal
Ships had occasionally come into this area population include:
for water, food and scientific exploration, / The establishment of ‘The Native Penal
but the arrival of the first white colonists Institution’ on Rottnest Island, where in a
heralded the demise of the Noongar and perversion of the sentence handed down
subsequently the other Aboriginal nations of to the English convicts, the Noongar were
WA. It could be argued that the Aboriginal sentenced ‘to be transported across the
people of Western Australia bore some of seas’. Noongar boys and men were sent
the worst atrocities at the hands of the to Rottnest and imprisoned in shocking
colonial settlers. Perhaps this was because conditions. This was torture for them.
Page 36—37Firstly, the Noongar had no understanding / A 1927 law that until relatively recently
of white law and therefore had no idea created a prohibited area of 5 square
why they had been sent there. Secondly, kilometers surrounding central Perth that
they could see their country, which they was ruled off limits to Noongar people.
pined for desperately, across the water. Noongar who worked within this area had
Many of them died from heartbreak, to carry a pass and ID. There was a 6pm
disease or malnutrition. curfew and Noongar in this area or travelling
through it after curfew had to have a permit.
/ The practice where over 2,000 Indigenous
This law was only revoked in 1953.
people were kept as slaves by the
pastoralists. Tricked into marking a / So, this was the world of the Noongar
‘contract’ with an ‘X’, these illiterate people people from the time of first settlement.
unwittingly became the property of the It is easy to understand and empathise
pastoralist. They were used as slave labour with the ghosts in Tim Winton’s story. They
and some of the women were used as represent the shocking experiences that
concubines. If they tried to flee they were their ancestors went through and they
tracked and caught. Punishments were embody the hurt and pain. Fish Lamb can
extreme and not scrutinised by authorities. see, hear and feel the emotions of these
people. Sometimes the other characters
/ The Education Act of Western Australia
enter their realm and can see them as well.
1893, that allowed parents of white
These are cathartic moments in the work
children to object to an Aboriginal child
and they serve to transform and heal the
attending their child’s school. This act
characters. Matthew Lutton describes
denied Aboriginal children educational
these moments as ‘The past existing with
opportunities. the present’. He also talks about making
/ The Aborigines Act, enacted in 1905. the Indigenous characters and their plight
The act encouraged the establishment of ‘visible’ to the other characters and the
reserves and missions and introduced the audience of Cloudstreet.
role of Protectors. Under the act Aboriginal This link to ABC Splash provides further insight
people were prohibited from towns and into the traditional custodians of Perth and
cohabitation of Aboriginal women and their first encounters with the first colonists.
non-Aboriginal men was prohibited. The Please make sure you verify the factual content.
Aborigines Act also legalised the removal
of Aboriginal children from their natural You are also encouraged to conduct your own
families. This allowed the state or officers broader research into the Indigenous history of
of the state to remove Indigenous children Perth. A suggested area of investigation could
from their parents who were deemed, be a timeline of Aboriginal history in Western
‘...biologically capable of having children Australia, focussing on the events that effected
but not socially capable of raising them’. the Noongar population from the beginning of
This is when the Stolen Generations began colonisation of Perth in 1829 to 2019.
and it continued into the 1970s.
/ The results of a survey run by the Australian
Bureau of Statistics in 1994 that found
that of Aboriginal people and Torres Strait
Islanders aged over 25 years, 10% were
removed from their families. Horrifyingly,
in Western Australia this equated to 25% of
the Indigenous population.
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