The world premiere of this thought-provoking Sydney Theatre Company play reminds us of
the importance of family and heritage.

Based on a true story, A Long Forgotten Dream follows a South Australian Aboriginal family
as they attempt to reclaim the bones of their deceased ancestor, King Tulla. While
uncovering her family tree, Archaeologist Simone Tucker unearths the dark past that
continues to haunt her father, who confines himself in his isolated home. After two years of
searching, Simone needs to jump one last hurdle – her own family – to return her greatgrandfather’s
remains into the Australian soil where it belongs.

Wayne Blair stars as the pessimistic father figure, Jeremiah Tucker. Ongoing aggression
towards his family and peers is a result of his struggle; he is tired of fighting and trying to
make people understand his suffering. Supporting him is Ningali Lawford-Wolf, playing his
feisty sister, Lizzie. Her unapologetically sassy persona endorses a humourous atmosphere;
she is a constant reminder that this is still a family, despite the conflict.

The set is bare and straightforward, with piles of sand clustered throughout the stage.
Unfortunately, this set design meant I could see the cast moving in the wings, often
distracting me from the performance. Unlike most straight plays, the musician is visible to
the entire audience side stage. With a stunning soundscape, William Barton utilises
didgeridoos and synthesisers to create a ghostly atmosphere, beautiful echoes and sound
effects guiding the performers through the story. Barton rightfully earned a spot in line with
the cast for the final bows.

H Lawrence Sumner’s work also criticises the state of ‘reconciliation’ in Australia. Jeremiah
Tucker yells at the town’s local priest – played by Justin Smith – that he should not feel
satisfied with the quaint tradition of the Welcome to Country. A false Aboriginal Rights
activist reciting a bland Welcome to Country at the footy does not resolve the divide that
remains in Australian culture. Kevin Rudd saying ‘sorry’ doesn’t soothe the heartache.
The two-and-a-half-hour runtime could easily be narrowed down; the small plot is stretched
to the brink with lengthy pauses and unnecessarily long scenes changes. A Long Forgotten
Dream only has two weeks left in its run at the Opera House, closing the 25th of August.
Tickets may be expensive for students, but you can’t put a price on quality, Australian-made
theatre