Image courtesy of Magabala Books
y Bran Nue Dae : A Musical Journey single work   musical theatre  
Issue Details: First known date: 1990 1990
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AbstractHistoryArchive Description

The story of Bran Nue Dae concerns Willie, who having been expelled from the missionary school in Perth returns to Broome on the far north coast of Western Australia. Before leaving Perth, however, he finds his Uncle Tadpole and together they make the journey home with a hippie and a German tourist. Willy discovers sex and true love and their adventures end in the revelation that all the principle characters are related to each other. The whole is a celebration of the multi-cultural life of Broome and of the failures by government and church to make the black population assimilate and conform.

Adaptations

form y Bran Nue Dae Reg Cribb , Rachel Perkins , Jimmy Chi , Jimmy Chi (composer), Kuckles (composer), Australia : Robyn Kershaw Productions Mayfan , 2009 Z1562265 2009 single work film/TV (taught in 5 units)

Based on the stage musical of the same name by Jimmy Chi and the band Kuckles, Bran Nue Dae is set in 1969 and follows Willie, a young man who struggles to find a balance between the three things that drive his life: his love for his girl Rosie, his respect for his mother, and his religious faith. Willie's uncomplicated life of fishing and hanging out with his mates and his girl in the idyllic world of Broome is turned upside down when his mother returns him to the religious mission for further schooling and entry into the priesthood. After being punished for an act of youthful rebellion, he runs away from the mission on a journey that leads him to meet his 'Uncle Tadpole' and eventually return to Broome. Along the way, Willie and Uncle Tadpole meet a couple of hippies, spend the night in gaol, and meet a gun-toting roadhouse operator, while managing to stay one step ahead of Father Benedictus, who wants to bring Willie back to the mission.

Notes

  • The script for Bran Nue Dae was included in the 1989 Aboriginal National Theatre Trust Playwrights' Conference after having previously been workshopped in 1986 by the Aboriginal Writers, Oral Literature and Dramatists Association in Perth.

  • In Post-Colonial Drama (1996), Helen Gilbert and Joanne Tompkins argue that Jimmy Chi and Kuckles display with their choice of musical styles a kind of ideotonal subversion despite seeming to neutalise the oppositional tenor of the text (ideotones are audio-narrative units which suggest an affirmation or challenge to the unity of the dominant ideological discourse of the time). "Using catchy tunes and pleasant rhythms in ironic apposition to lyrics which voice less than mellow protests against European colonialisation, the play provides a sustained challenge to the hegemony of conventional forms of Broadway musical. Singing is enacted in Aboriginal dialects, in English, and in a special blended language called 'Broome Kriol,' while the musical score draws rhythmic inspiration from such disparate sources as country and western, calypso, reggae, gospel, blues, and tribal chant to articulate a syncretic mixture of song/sound/music that reflects the complex genealogies of the characters. In short, the play's music is used to carnivalise boundaries by appropriating borrowed forms, crossing cultural boundaries and fissuring European notions of aural harmony" (p. 198).

  • An original cast recording was produced at Planet Studios (Perth) between 1 and 5 September 1993. It was released the following year by BD Records. The cast included: Stephen Albert, Sylvanna Doolan, Trevor Jamieson, Alice Haines, Leah Purcell, Steve Kidd, James Hancock and James Edgar. The musicians are: Steve Pigram (guitars, vocals), Alan Pigram (guitars), Chong Lim (keyboards), Duncan Campbell (keyboards), Sue Irvin (keyboards), Patrick Bin Amat (bass guitar), Phillip Pigram (drums, percussion).

  • After the premiere 1990 Perth season (staged as part of the Perth Festival) Bran Nue Dae toured regional Western Australia, Canberra, Brisbane, and Darwin. It was revived for a 1992/993 national tour and a cabaret version was later devised for an Australian tour (this also included a season in Fiji). The musical has been revived in Broome on a frequent basis since 1990.

Production Details

  • Productions and tours of Bran Nue Dae include the following:

    1990: Octagon Theatre, Perth; 24 February - 17 March. Bran Nue Dae Productions/Western Australian Theatre Company (WATC); Music Director Michael Manolis and Stephen Pigram; Choreography Michael Leslie; Costumes Cordula Albrecht; Production Design Robert Juniper.
    - Cast: John Moore, Ernie Dingo, Michelle Torres-Hill, Lynda Nutter, Stephen Albert, Bob Faggetter, Alan Charlton, Maroochie Barambah, Rohanna Angus, Sylvia Clarke, Jimmy Edgar.

      • A second production was mounted after the Festival of Perth season.

    1990: North-West Australia tour; ca. September/October. Bran Nue Dae Productions/Western Australian Theatre Company (WATC); Production credits as for Perth season.
    - Cast Includes John Moore, Lynda Nutter, Stephen Albert, Bob Faggetter, Alan Charlton, Michael Leslie, Sylvia Clarke, Brian Saabin, Jimmy Edgar, Josie Lawford, Rohanna Angus, Della Morrison, Rasheeda Bin Omat, Cecilia Dann, Ricky Haji Noor.

      • Tour itinerary included Darwin Performing Arts Centre; 6-8 September / Kununurra 11-12 September / Derby 14-15 September / Broome 18-22 September / Port Hedland 25-26 September / Karratha 28-29 September / Geraldton [n. details]. Kalumburu School [n. details]

    1990: Canberra Theatre (ACT); 2-6 October. - Bran Nue Dae Productions/WATC/Canberra Theatre Company. Cast and production mostly as for Perth and North-West Australia tour.

    1990: Adelaide Festival Centre; 10 October - ; Bran Nue Dae Productions/WATC. Cast and production mostly as for North-West Australia tour

    1990: Lyric Theatre, Brisbane; 12-15 December. Bran Nue Dae Productions/WATC. Production credits mostly as for previous seasons.
    - Cast Included: Ernie Dingo, John Moore, Lynda Nutter, Stephen Albert, Bob Faggetter, Alan Charlton, Michael Leslie, Sylivia Clarke, Brian Saabin, Jimmy Edgar, Josie Lawford, Rohanna Angus, Della Morrison, Rasheeda Bin Omat, Cecilia Dann, Ricky Haji Noor.

    1991: Riverside Theatre, Parramatta (NSW); 4-19 January. Bran Nue Dae Productions/WATC/Sydney Festival. Production credits mostly as for previous seasons.
    - Cast Included Ernie Dingo, Stephen Albert, Rohanna Angus, Sylvia Clarke, Bob Faggetter, John Moore, Linda Nutter, David Sampi.

    1991: Seymour Centre, Sydney; 22 January - 9 February. Bran Nue Dae Productions/WATC. Cast and production mostly as for Brisbane/Parramatta seasons.

    1993: Playhouse Theatre, VAC (Melbourne); 3-24 July. Bran Nue Dae Productions/Melbourne Theatre Company/Black Swan Theatre Company (BSTC). Director Andrew Ross; Music Director Steve Pigram; Production Design Steve Nolan; Choreography Michael Leslie.
    - Cast Included Heath Bergersen, Ali Torres, Steve Kidd, Leah Purcell, Stephen Albert, Trevor Jamieson, Alice Haines, James Hancock, Jim Edgar, Sylvia Clarke, Syvana Doolan, Djunawong Stanley Mirando, John Collard, Brett Dimer, Jac Hill, Vanessa Johnson, Ningal Lawford, Lynette Lewis, Brian Saaban, Richard Talonga (dance captain).

    • Musicians: Saltwater Cowboys - Steve Pigram (guitar), Alan Pigram (guitar), Patrick Bin Amet (bass), Philip Pigram (drums), Duncan Campbell, Sue Irvin and Chong Lim (keyboards).

    1993: Perth; ca. August. Bran Nue Dae Productions/WATC/BSTC. Cast and production mostly as for previous Melbourne season.

  • Entries connected with this record have been sourced from on-going historical research into Australian music-film, theatre and television being conducted by Dr Clay Djubal.

Publication Details of Only Known VersionEarliest 2 Known Versions of

First known date: 1990
    • Sydney, New South Wales,: Broome, Kimberley area, North Western Australia, Western Australia,: Currency Press ; Magabala Books , 1991 .
      Image courtesy of Magabala Books
      Extent: 116p.
      Description: illus., (Production photos), music, port.
      Note/s:
      • Includes words and melody line with chord symbols of the songs

      • Introduced by Peter Bibby.
      • Music by Kuckles (musical group)
      ISBN: 0868192937
  • Appears in:
    y Postcolonial Plays : An Anthology Helen Gilbert (editor), London New York (City) : Routledge , 2001 Z987388 2001 anthology drama (taught in 1 units) London New York (City) : Routledge , 2001 pg. 320-347
    Note: Includes introduction, bibliography and glossary of Aboriginal words.

Works about this Work

Talkin’ Blak : Humour in Indigenous Australian Theatre, 1970−2000 Karen Austin , 2015 single work criticism
— Appears in: Philament , February no. 20 2015; (p. 129-164)
'This paper looks at the renaissance of Indigenous Australian theatrical performance, from the early 1970s to its prominence in the lead-up to the Sydney 2000 Olympic Games. It focuses on the specific ways that humour has been used by Indigenous Australian performing artists to highlight unpleasant social issues in their communities, such as poverty, alcohol abuse, and the removal/stealing of children from their families. In conjunction with witty repartee, visual comedy both in movement and mimicry is often used by Indigenous performers. Philosopher Henri Bergson, well-known for his contributions to humour studies, claims that the physical humour in inflexible, repetitive, or exaggerated movements is inherently funny. Bergson argues that rigidity of movements or “something mechanical encrusted on the living” makes comedians appear inhuman and, as a consequence, this makes people laugh. Contemporary philosopher and humour theorist Simon Critchley notes that the opposite is also true: We often find it funny when people give the impression of being all too human. For Critchley, the recognition of predictable behaviours is just as funny as any automated actions.' (129-130)
Aboriginal Story-Telling : Traditonal and Contemporary Rosemary van den Berg , 2012 single work column
— Appears in: National Indigenous Times , 16 May no. 264 2012; (p. 25)
Singing the Praises Peter Vincent , 2010 single work column
— Appears in: The Sydney Morning Herald , 1 January 2010; (p. 9)
It's a Bran Nue Dae Ron Banks , 2010 single work column
— Appears in: The Canberra Times , 9 January 2010; (p. 6-7)
The Chant of Jimmy Chi Stephen Scourfield , Robert Garvey (illustrator), 2010 single work column
— Appears in: The West Australian , 16 January 2010; (p. 6-9)
Bran Nue Dae Diana Plater , 2009 single work column
— Appears in: The Canberra Times , 13 June 2009; (p. 27)
Untitled Michael Bodey , 2008 single work column
— Appears in: The Australian , 29 October 2008; (p. 19)
Boom in Broome as Stars of the Screen Rise in the West Victoria Laurie , 2008 single work column
— Appears in: The Australian , 5 November 2008; (p. 8)
y Creating Frames : Contemporary Indigenous Theatre : 1967-1990 Maryrose Casey , St Lucia : University of Queensland Press , 2004 Z1109707 2004 single work criticism

From publisher's blurb (back cover): Creating Frames provides the first significant social and cultural history of Indigenous theatre across Australia. As well as using archival sources and national and independent theatre company records, much of this history is drawn from interviews with individuals who have shaped contemporary Indigenous theatre in Australia - including Bob Maza, Jack Charles, Gary Foley, Justine Saunders, Weley Enoch, Ningali, and John Harding...

Creating Frames traces the history of production of texts by Indigenous Australian artists from 1967 to 1997. It includes productions in theatres of texts by Indigenous Australian artists, collaborations between Indigenous and non-Indigenous artists, and adaptations of texts by Indigenous artists. The focus is public urban commercial productions and includes national and international premieres and tours. 'Commercial' is used here in the sense of public presentations open to any potential audience member as distinct from closed community productions. The focus does not include radio plays, millennia of traditional practices, performances devised and performed within communities, or community outreach/education theatre initiatives such as HeatWorks in the Kimberley. Even within these limits the constraints of space have affected the number of productions that can be covered in detail.

Throughout this thirty year period, particular themes recur, these themes relate to the ways in which the external framing of the work either facilitates or blocks production. These themes often relate directly or indirectly to concepts of 'authenticity' and/or 'Aboriginality' - in effect the 'acceptable' face of Aboriginality within government and social narratives at any point in time. The strength and power of these themes as frames for the work has drawn on generally accepted understandings of Australian history and the ways in which these are manipulated in the service of political agendas. These frames fall into three main categories within the thirty year period - assimilation, multiculturalism and reconciliation. This production history reveals that, rather than Euro-Australian theatre practitioners creating an environment that enabled Indigenous theatre practice, Indigenous artists have taken their own initiative. An initiative they continue to take whilst simultaneously contesting the primarily external frames that define their work and affect their production possibilities.

(Abstract courtesy the author.)

'Australian-ness' in Musical Theatre : A Bran Nue Dae for Australia? Peter Wyllie Johnston , 2004 single work criticism
— Appears in: Australasian Drama Studies , October no. 45 2004; (p. 157-179)
Aboriginal Encounters : Cross-Cultural Perspectives on First Nation Drama Marc Maufort , 2003 single work criticism
— Appears in: Transgressive Itineraries : Postcolonial Hybridizations of Dramatic Realism 2003; (p. 147-231)
Section II of this chapter is entitled 'Staging Australian Aboriginality.'
Cross-Cultural Alliances : Exploring Aboriginal Asian Literary and Cultural Production Peta Stephenson , 2003 single work criticism
— Appears in: Lost in the Whitewash : Aboriginal-Asian Encounters in Australia, 1901-2001 2003; (p. 143-162)
Peta Stephenson surveys Aboriginal-Asian cross-cultural production, considering representations of Aboriginal-Asian relations, influences on the construction of contemporary Aboriginality, and Aboriginal perceptions of Asian identity.
Future's Imperfect Suvendrini Perera , 2000 single work criticism
— Appears in: Alter/Asians : Asian-Australian Identities in Art, Media and Popular Culture 2000; (p. 3-24; Notes: 280-281)

Perera situates her exploration of Australian histories and futures 'in the context of the millennium and its anxieties'. She considers the appeal of 'Hansonism' and draws on a range of literary texts to demonstrate the limits and the potential of the imperfect, ideal of 'coexistence'.

y United by the Sweep of a Tarnished Brush Yuanfang Shen , Penny Edwards , Canberra : Australian National University , 2000 Z939967 2000 single work essay

Briefly outlining white Australians' attitudes to Chinese settlers in Australia, the authors note the often close relationships between Chinese and Aboriginal people, the effect of the land rights movement in motivating people of mixed race to identify as Aborigines, and the trend to increased recognition of dual and multiple ancestries.

Making the Sign of the Cross : Interdisciplinary iIntersections in Theology, Australian Studies and Postcolonial Studies Rebecca Pannell , 2000 single work criticism
— Appears in: Kunapipi , vol. 22 no. 2 2000; (p. 64-74)
Reconciliation? Aboriginality and Australian Theatre in the 1990s Helen Gilbert , 1998 single work criticism
— Appears in: Our Australian Theatre in the 1990s 1998; (p. 71-88) Australian Studies Now : An Introductory Reader in Australian Studies 2007; (p. 85-108)
Helen Gilbert considers a wide range of Aboriginal theatre produced in the 1990s, tracing the various articulations of Aboriginality in these performances and how, in spite of difficulties and frustrations, they opened up a space for 'productive dialogue' between Aboriginal and non-Aboriginal Australians.
"Stepford" Criticism: "Subversive Acts" and Resistance in Post-Colonial Drama Glenn D'Cruz , 1998 single work criticism
— Appears in: The Journal of Commonwealth Literature , vol. 33 no. 2 1998; (p. 1-14)
Reinventing Cultures : The Politics of Cultural Reformation as Reflected in Contemporary Aboriginal Performing Arts Maurie Scott , 1997 single work criticism
— Appears in: Aratjara : Aboriginal Culture and Literature in Australia 1997; (p. 129-143)
Deadlys Big Night Out Shows it was a 'Bran Nue Day' for Everyone 1997 single work column
— Appears in: The Telling of Stories : A Spiritual Journey by Kimberley Aboriginal People 1997; (p. 5)
Singing the Landscape: `Bran Nue Dae' Paul Makeham , 1996 single work criticism
— Appears in: Australasian Drama Studies , April no. 28 1996; (p. 117-132)
Bran Nue Hit Brian Hoad , 1991 single work review
— Appears in: The Bulletin , 15 January vol. 112 no. 5753 1991; (p. 99)

— Review of A Stretch of the Imagination Jack Hibberd 1971 single work drama ; Bran Nue Dae : A Musical Journey Jimmy Chi 1990 single work musical theatre
Gaps Amid the Verbal Snaps Ann Nugent , 1991 single work review
— Appears in: The Canberra Times , 29 June 1991; (p. C9)

— Review of Bran Nue Dae : A Musical Journey Jimmy Chi 1990 single work musical theatre ; The State of Play : The Revolution in the Australian Theatre Since the 1960s Leonard Radic 1991 single work criticism
Fresh Australian Musical Full of Enthusiasm Ann Nugent , 1990 single work review
— Appears in: The Canberra Times , 3 October 1990; (p. 5)

— Review of Bran Nue Dae : A Musical Journey Jimmy Chi 1990 single work musical theatre
Nue Dae a New Era Tim Lloyd , 1990 single work review
— Appears in: The Advertiser , 12 October 1990; (p. 12)

— Review of Bran Nue Dae : A Musical Journey Jimmy Chi 1990 single work musical theatre
Chi Converts Anger into Creative Force Jeremy Eccles , 1990 single work review
— Appears in: The Advertiser , 11 October 1990; (p. 19)

— Review of Bran Nue Dae : A Musical Journey Jimmy Chi 1990 single work musical theatre
Hector on the Festival of Theatre, Alanna on Bran Nue Dae Alanna Maclean , 1990 single work review
— Appears in: Muse , November no. 93 1990; (p. 20-21)

— Review of Bran Nue Dae : A Musical Journey Jimmy Chi 1990 single work musical theatre
Deadly! Pat Wilson , 1990 single work review
— Appears in: The Adelaide Review , November no. 82 1990; (p. 28-29)

— Review of Bran Nue Dae : A Musical Journey Jimmy Chi 1990 single work musical theatre
Bran Nue Dae a Pearl of a Play Peta Koch , 1990 single work review
— Appears in: The Courier-Mail , 15 December 1990; (p. 31)

— Review of Bran Nue Dae : A Musical Journey Jimmy Chi 1990 single work musical theatre
Simple Tale on a Human Scale Bob Evans , 1991 single work review
— Appears in: The Sydney Morning Herald , 7 January 1991; (p. 11)

— Review of Bran Nue Dae : A Musical Journey Jimmy Chi 1990 single work musical theatre
Some Sugar Jeremy Eccles , 1991 single work review
— Appears in: The Sydney Review , January-February no. 28 1991; (p. 18-19)

— Review of Bran Nue Dae : A Musical Journey Jimmy Chi 1990 single work musical theatre
Untitled Helen Gilbert , 1992 single work review
— Appears in: Australasian Drama Studies , April no. 20 1992; (p. 134-138)

— Review of Bran Nue Dae : A Musical Journey Jimmy Chi 1990 single work musical theatre
Untitled Bryce Hallett , 1993 single work review
— Appears in: The Australian , 9 July 1993; (p. 12)

— Review of Bran Nue Dae : A Musical Journey Jimmy Chi 1990 single work musical theatre
Home-Grown Musical Sure to Warm the Heart Leonard Radic , 1993 single work review
— Appears in: The Age , 5 July 1993; (p. 15)

— Review of Bran Nue Dae : A Musical Journey Jimmy Chi 1990 single work musical theatre
A Reality Romp Fiona Scott-Norman , 1993 single work review
— Appears in: The Bulletin , 20 July vol. 115 no. 5879 1993; (p. 99-100)

— Review of Bran Nue Dae : A Musical Journey Jimmy Chi 1990 single work musical theatre
Untitled Ken Longworth , 1995 single work review
— Appears in: The Newcastle Herald , 11 December 1995;

— Review of Bran Nue Dae : A Musical Journey Jimmy Chi 1990 single work musical theatre
y Jimmy Chi's Bran Nue Dae Frank Sheehan , Sydney : ABC Radio , 1991 Z1037458 1991 single work criticism
Aboriginal Encounters : Cross-Cultural Perspectives on First Nation Drama Marc Maufort , 2003 single work criticism
— Appears in: Transgressive Itineraries : Postcolonial Hybridizations of Dramatic Realism 2003; (p. 147-231)
Section II of this chapter is entitled 'Staging Australian Aboriginality.'
Reinventing Cultures : The Politics of Cultural Reformation as Reflected in Contemporary Aboriginal Performing Arts Maurie Scott , 1997 single work criticism
— Appears in: Aratjara : Aboriginal Culture and Literature in Australia 1997; (p. 129-143)
A Rewarding Experience Lindy Brophy , 1991 single work column
— Appears in: Fremantle Arts Review , April vol. 6 no. 4 1991; (p. 10-11)
Out of the West Jeremy Eccles , 1991 single work column
— Appears in: Fremantle Arts Review , May vol. 6 no. 5 1991; (p. 14-15)
y Creating Frames : Contemporary Indigenous Theatre : 1967-1990 Maryrose Casey , St Lucia : University of Queensland Press , 2004 Z1109707 2004 single work criticism

From publisher's blurb (back cover): Creating Frames provides the first significant social and cultural history of Indigenous theatre across Australia. As well as using archival sources and national and independent theatre company records, much of this history is drawn from interviews with individuals who have shaped contemporary Indigenous theatre in Australia - including Bob Maza, Jack Charles, Gary Foley, Justine Saunders, Weley Enoch, Ningali, and John Harding...

Creating Frames traces the history of production of texts by Indigenous Australian artists from 1967 to 1997. It includes productions in theatres of texts by Indigenous Australian artists, collaborations between Indigenous and non-Indigenous artists, and adaptations of texts by Indigenous artists. The focus is public urban commercial productions and includes national and international premieres and tours. 'Commercial' is used here in the sense of public presentations open to any potential audience member as distinct from closed community productions. The focus does not include radio plays, millennia of traditional practices, performances devised and performed within communities, or community outreach/education theatre initiatives such as HeatWorks in the Kimberley. Even within these limits the constraints of space have affected the number of productions that can be covered in detail.

Throughout this thirty year period, particular themes recur, these themes relate to the ways in which the external framing of the work either facilitates or blocks production. These themes often relate directly or indirectly to concepts of 'authenticity' and/or 'Aboriginality' - in effect the 'acceptable' face of Aboriginality within government and social narratives at any point in time. The strength and power of these themes as frames for the work has drawn on generally accepted understandings of Australian history and the ways in which these are manipulated in the service of political agendas. These frames fall into three main categories within the thirty year period - assimilation, multiculturalism and reconciliation. This production history reveals that, rather than Euro-Australian theatre practitioners creating an environment that enabled Indigenous theatre practice, Indigenous artists have taken their own initiative. An initiative they continue to take whilst simultaneously contesting the primarily external frames that define their work and affect their production possibilities.

(Abstract courtesy the author.)

'Australian-ness' in Musical Theatre : A Bran Nue Dae for Australia? Peter Wyllie Johnston , 2004 single work criticism
— Appears in: Australasian Drama Studies , October no. 45 2004; (p. 157-179)
Reconciliation? Aboriginality and Australian Theatre in the 1990s Helen Gilbert , 1998 single work criticism
— Appears in: Our Australian Theatre in the 1990s 1998; (p. 71-88) Australian Studies Now : An Introductory Reader in Australian Studies 2007; (p. 85-108)
Helen Gilbert considers a wide range of Aboriginal theatre produced in the 1990s, tracing the various articulations of Aboriginality in these performances and how, in spite of difficulties and frustrations, they opened up a space for 'productive dialogue' between Aboriginal and non-Aboriginal Australians.
Cross-Cultural Alliances : Exploring Aboriginal Asian Literary and Cultural Production Peta Stephenson , 2003 single work criticism
— Appears in: Lost in the Whitewash : Aboriginal-Asian Encounters in Australia, 1901-2001 2003; (p. 143-162)
Peta Stephenson surveys Aboriginal-Asian cross-cultural production, considering representations of Aboriginal-Asian relations, influences on the construction of contemporary Aboriginality, and Aboriginal perceptions of Asian identity.
Future's Imperfect Suvendrini Perera , 2000 single work criticism
— Appears in: Alter/Asians : Asian-Australian Identities in Art, Media and Popular Culture 2000; (p. 3-24; Notes: 280-281)

Perera situates her exploration of Australian histories and futures 'in the context of the millennium and its anxieties'. She considers the appeal of 'Hansonism' and draws on a range of literary texts to demonstrate the limits and the potential of the imperfect, ideal of 'coexistence'.

Singing the Landscape: `Bran Nue Dae' Paul Makeham , 1996 single work criticism
— Appears in: Australasian Drama Studies , April no. 28 1996; (p. 117-132)
Untitled Michael Bodey , 2008 single work column
— Appears in: The Australian , 29 October 2008; (p. 19)
Boom in Broome as Stars of the Screen Rise in the West Victoria Laurie , 2008 single work column
— Appears in: The Australian , 5 November 2008; (p. 8)
Bran Nue Dae Diana Plater , 2009 single work column
— Appears in: The Canberra Times , 13 June 2009; (p. 27)
Singing the Praises Peter Vincent , 2010 single work column
— Appears in: The Sydney Morning Herald , 1 January 2010; (p. 9)
It's a Bran Nue Dae Ron Banks , 2010 single work column
— Appears in: The Canberra Times , 9 January 2010; (p. 6-7)
The Chant of Jimmy Chi Stephen Scourfield , Robert Garvey (illustrator), 2010 single work column
— Appears in: The West Australian , 16 January 2010; (p. 6-9)
Deadlys Big Night Out Shows it was a 'Bran Nue Day' for Everyone 1997 single work column
— Appears in: The Telling of Stories : A Spiritual Journey by Kimberley Aboriginal People 1997; (p. 5)
Australian Theatre Classic to be Given a Bran Nue Day 1992 single work column
— Appears in: Koori Mail , 2 December no. 40 1992; (p. 16)
'Next year Black Swan Theatre, in conjunction with the Melbourne Theatre Company, is remounting the most successful Australian musical theatre production ever Bran Nue Day by Jimmy Chi and Kuckles.'
Aboriginal Story-Telling : Traditonal and Contemporary Rosemary van den Berg , 2012 single work column
— Appears in: National Indigenous Times , 16 May no. 264 2012; (p. 25)

Awards

Last amended 13 Nov 2012 15:40:33
Settings:
  • Broome, Kimberley area, North Western Australia, Western Australia,
  • Perth, Western Australia,
  • Beagle Bay, Kimberley area, North Western Australia, Western Australia,
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