Adapted by Leah Purcell from the autobiographies of Dr Ruth Hegarty, Is That You, Ruthie? explores a deeply personal, truth-telling story of a shameful part of Australian history. The play was first staged at Queensland Performing Arts Centre (QPAC) in 2023 to an acclaimed sold-out season. It is as fresh and relevant today as it was then, with its commentary on the consequences of the Stolen Generation and the effects of the Aboriginal Protection Act.
The play explores the heart-breaking story of a mother (Ruby) and daughter (Ruthie), whose Aboriginal names are Buthalangi and Munya, separated when Ruthie was four years old. Both had been living at the notorious Cherbourg Mission (originally called Barambah) in central Queensland since Ruthie was six months of age. Mother and daughter were then separated in 1930 for some 27 years until they found each other again in 1957 when, despite many efforts by them both, their estranged relationship was never fully repaired.
In Purcell’s well-structured play, the story of mother and daughter is not told as a linear tale, but rather examines the story first from Ruby’s perspective and then from Ruthie’s worldview as a child, young adult and grown woman. These two viewpoints merge together seamlessly towards the end of the play.
Purcell’s dramatic writing was powerfully realised; the diverse elements of the story leaped off the page to engage our emotions fully. While relating uncomfortable truths, she used theatre to pack a powerful punch and send some strong messages. Much of what the play reports was harrowing and poignant, but there was also sufficient light and shade in the storytelling to move an audience to both laughter and tears.
Purcell’s Ruby gave an initial and highly emotive explanation of arriving at the Barambah settlement in Murgon with her parents and siblings, the break-up of the family and her being sent to Cherbourg with her baby. Contrasting that, Purcell’s Ruth, a wild young girl, recalled her ‘dormitory’ friends on their days off enjoying the cinema. Their re-enactments of Hollywood musicals in the Shangri-la world of the local duck pond were hilariously funny. Purcell balanced the levity of childhood fun within the darkness of their cloistered world.
As Ruby, Shakira Clanton gave a marvellous and emotionally charged performance of a woman who, through no fault of her own, got caught up in the racist policies of the age. She found herself living in an oppressive environment in an authoritarian rules-based culture where she did not belong. We understand, through the development of her character, what it meant to her to live on Country, to be surrounded by family and to maintain her own culture and language. She often demonstrated this through song and some impressive vocals. We saw her newfound courage in later life when she cast off her early persona to become Ruby-Anne, finding a partner in Lenny Ray. Clanton also played a number of other small supporting roles, giving each a distinctive, and often humorous, characterisation.
Melodie Reynolds-Diarra’s Ruthie was well-rounded and pragmatic, demonstrating a spirited strength and an indomitable character. The title of the play stems from her own admission of how she was always in trouble as a child, being called out as being the prime instigator. Playing an excitable, inquisitive child, she showed visible and amusing traits of defiance.
Deeply attached to her childhood friends in adversity, her fear at leaving Cherbourg to begin an adult life of domestic service was palpable. A moving scene onboard a train to the bush displayed her terror. We saw her learning to read and write, when this was not encouraged, in order to make the best of her life that she could. Hers was never a spirit to be crushed. Bringing the character beautifully to life, Reynolds-Diarra gave a powerful, believable and immensely enjoyable performance of Hegarty’s story.
Chloe Greaves’ basic simple set, furniture and props worked well to keep the action flowing, while the projected sepia photos of actual people and places of the period on the back wall were stunningly realised by Justin Harrison and Buck Outdoor. Ben Hughes’ creative lighting and Wil Hughes’ excellent sound design helped to realise a finely crafted and well-directed production. And the choreographed dances by Jeanette Fablia were additionally great fun.
Read: Dance review: Somos, Arts Centre Melbourne
Is That You, Ruthie? is certainly a play that every Australian should see as it captures this story of injustice, oppression and exploitation within a personal framework of human bravery and fortitude. Unfortunately, the current return season was cut short by the spectre of Cyclone Alfred and, given it was also sold out, a third return season is definitely warranted.
QPAC in association with Oombarra Productions presented Is That You, Ruthie?
Cremorne Theatre, QPAC
Based on the books written by Dr Ruth Hegarty
Written and directed by Leah Purcell
Choreographer: Jeanette Fabila
Lighting Designer: Ben Hughes
Composer and Sound Designer: Wil Hughes
Video Designer: Justin Harrison
Video Technicians: Steven Brodie and Joshua Braithwaite, Buck Outdoor
Set and Costume Designer: Chloe Greaves
Dramaturg: Alexander Bayliss
Executive Producer: Bain Stewart, Oombarra Productions
Head of First Nations Programming: Bradley Chatfield
Producer: Kate Driscoll-Wilson
Production Manager: Kylie Mitchell
Stage Manager: Carli Griffin
Cast: Melodie Reynolds-Diarra, Shakira Clanton
Is That You, Ruthie? was performed 11-15 March 2025.
The publication of the play Is that You, Ruthie? is available through University of Queensland Publishing.
