Opera Queensland, QPAC, Brisbane Festival, and Yumpla Nerkep Foundation came together last week to present 'Straight From the Strait', a groundbreaking Torres Strait Islander musical that graced the QPAC Playhouse for an all-too-brief run. This production was a revelation—an outstanding blend of history, culture, and sheer theatrical joy that left audiences cheering, clapping, and dancing in their seats. The show’s cultural roots were evident in every aspect, from the traditional dance sequences to the audience members proudly dressed in the colours of the Torres Strait flag. Brought to life by a team of First Nations Elders, creatives, performers, musicians, and cultural advisors, this production is both an epic tale of perseverance and a profound source of pride for its people. Yet, it is a story that remained little known to much of Australia.
On a single day in 1968, under the unforgiving sun of Western Australia, 137 men—primarily from the Torres Strait—achieved an extraordinary feat: they laid, spiked, and anchored seven kilometres of railway track in just 11 hours and 40 minutes, setting a world record that still stands today. 'Straight From the Strait' brought this historic moment to life, weaving together the threads of history, culture, and family into a vibrant tapestry of storytelling. The musical tells the story of three brothers—Kusa, Pinau, and Boyor—who left their island home in search of work on the Australian mainland. Their journey is packed with challenges, humour, and heartfelt moments, brought to life by a talented all-Indigenous cast, many of whom are descendants of the very railway workers whose story was being told.
This musical journey kicked off with an a cappella piece performed by the male ensemble, their voices intertwining in beautiful dissonant harmonies. Composed by Rubina Kimiia, the musical intricately wove traditional songs and languages with contemporary musical theatre numbers, resulting in a rich, multi-layered soundscape that was both deeply rooted in culture and universally appealing. While I couldn't find a song list (believe me, I searched), I shall do my best to refer to the numbers as accurately as I can. The musical elements of the show truly celebrated Torres Strait Islander culture, featuring a lively six-piece band and an ensemble that performed in Meriam Mir, Kala Lagaw Ya, Torres Strait Creole, and English. The script, by Norah Bagiri, was rich with the subtle humour that Australians are known for. For non-Indigenous audiences, English subtitles were provided for some dialogue, ensuring that the power of the script wasn't lost on them.
Paul Isakara Williams delivered a standout performance as Boyor, the youngest brother, by infusing the role with a wonderfully humorous energy, especially during his romantic pursuit of Isobel. Harold Pascoe, as Kusa, the eldest brother, brought depth and gravitas to his role. Gertrude Benjamin, as Serai, Kusa's wife, offered a touching counterpoint to her husband’s journey, particularly in their duet "Over the Horizon," which explored the emotional toll of separation. Pinau, played by Vaughan Wapau, the middle brother and our narrator, was a captivating presence on stage; with his infectious smile and unique gift of 'sight' adding an intriguing element to the story. The dynamic between the brothers, especially in their tense and tender moments, felt highly genuine.
Georgia Corowa, as Isobel, affectionately known as Izzy, shone in her moments on stage, particularly in the charming number "Sweetest News," where she met Boyor over an egg sandwich. She showcased her impressive vocal talent in the soul-stirring solo "Goodbye," a powerful moment that opened Act 2. Her voice, filled with emotion, beautifully conveyed the longing and heartache of the women who missed their men as they toiled on the railway.
After asking the audience if they were ready to hear the story, Pinau whisked us back to the 1960s in the Torres Strait Islands. The opening number, with its energetic dance and grass skirts, was a showstopper that instantly captured the audience's attention. Particularly delightful was the cheeky song between the brothers, filled with playful banter as we were introduced to each sibling. The audience was wonderfully responsive, showering the performance with laughter, cheer, and applause to create an atmosphere of communal joy.
Boyor's journey provided many of the show's highlights, like his smooth-talking antics at the Charters Towers Hotel party, where he and Uncle Reuben, his trusty wingman, brought a ton of laughs. Boyor's vocal prowess was evident throughout, especially in the number "Out There," where his powerful belt and effortless riffs took centre stage.
The passion and energy of the performers, many of whom were making their musical theatre debut, were evident in every scene. The talented ensemble featured Jalen Sutcliffe (Man Mountain), Ghenoa Gela (Mama), Zeek Power (Protector Man & Bradco Bala), Joseph Tapau (Levi), Edward Lampton (Bobby B), Marcus Corowa (Jimmy), Zane Lemusu (Sid), and Maurice Sailor (Uncle Reuben & Simeon), all of whom contributed to the rich tapestry of the show. Sutcliffe particularly stole scenes with his humorous theatrical flair. The sugarcane musical number, where Boyor and his fellow workmen bemoaned the heat, dirt, and smell, was catchy and injected some fun into the hard labour depicted on stage.
Joseph Tapau as Levi sang, "Free," which was an uplifting moment that beautifully captured the character's longing for freedom amidst the tough realities of being a "refugee in his own country." Marcus Corowa, as Jimmy, whose voice was undoubtedly the standout of the cast, delivered a heartbreaking performance in "Please Hear Our Prayer," a song that beautifully conveyed the pain of receiving bad news while far from home.
As the story moved to Western Australia, the production raised an intriguing question: "Could the power of the desert beat the power of the sea?" The answer unfolded through the vibrant number "Working on the Queensland Railway." Here, the ensemble, equipped with crowbars, shovels, and sledgehammers, worked in rhythm to lay the railway tracks. This scene radiated warmth and camaraderie, mirroring the real-life connections the cast clearly shared on stage.
As the team set out to break the world record, "Push On" beautifully highlighted the men's determination to keep working in harmony, truly embodying the phrase "We are rhythmic people." Using suitcases to create the "track" was a fitting touch, symbolising the weight of their journey. The gospel number "May 8, 1968, Have You Heard the News?" brought an uplifting energy, serving as a powerful anthem of perseverance and unity.
Under the skilled direction of Nadine McDonald-Dowd, the production masterfully balanced the personal and the historical, ensuring that the epic scope of the story never overshadowed the intimate moments that defined it. Kevin O’Brien’s set design, assisted by Zoe Rouse, was equally impressive. The stage was dominated by a single, incredibly versatile set piece—a giant suitcase. The way it revolved and unfolded both vertically and horizontally to create various settings—a beach hut, a boat, the railway camp—was both clever and visually striking, providing a dynamic backdrop for the brothers' journey. Moreover, its climbable structure allowed characters to perch above the action, symbolically overseeing the story from afar.
The costumes, designed by Zoe Rouse, beautifully evolved alongside the story's locations, transitioning from the traditional grass skirts of the island to the more practical jeans and flannels of the mainland. Jason Glenwright’s lighting design beautifully reflected various terrains and times of day—from the shimmering moonlight on water to the vibrant sunsets of the island to the harsh midday sun in the sugarcane fields and desert. The twinkle lights, suspended like stars, lent an enchanting touch to the atmosphere. The stage, painted to look like sand, became a canvas for the story, and sound effects like the gentle hum of a boat engine and the lapping water helped to draw the audience deeper into the world of the Samusah brothers.
The choreography, beautifully crafted by Patricia Pryce and Cleopatra Pryce, was mesmerising, especially during the dance circle that led into the title number, "Straight from the Strait". This song radiated joy and cultural pride, inviting the audience to clap along, with many of us, myself included, dancing in our seats. The song's groove was so infectious that even days later, I still find myself singing it!
The standing ovation wasn't just for the performance we had just enjoyed, but also for the resilience, strength, and spirit of the men whose story this musical beautifully told. "Straight From the Strait" was a triumph in every sense, and one can only hope that it will continue to spread its powerful message to audiences nationwide. Let's celebrate these untold stories, as they are the threads that connect our shared history.
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