Review by Andrea Bunjamin
After having moved away from his hometown up north, Jacky, a young queer Indigenous man seems to have a well-established life in Melbourne. He lives by himself, has a solid group of people he calls friends, and makes good money that pays the bills. On top of that he is determined to buy his own flat. But when his chaotic little brother is sent to live with him, he begins to unravel as his old life clashes with the new.
Originally developed by the Melbourne Theatre Company’s Next Stage Program, Jacky makes its second-run in Sydney bringing in a thought-provoking, humorous yet serious story to its audience. Written by Arrente playwright Declan Furber Gillick, it's a play with a very clear voice on what it means to find your feet in White Australia as an urban Blackfella. One with a refreshing premise about an ambitious bright man who makes morally-wonky decisions as he contends with his identity. Through the direction and dramaturg of Mark Wilson, this cast fleshes out four very enthralling characters that is sure to have you in a satisfying daze.
We see Jacky, played by the incredible Guy Simon, go through different lengths to reach his goals, along with the boundaries he is willing to push. A natural hustler and a sex worker, Simon plays a versatile man who has grown accustomed to the different faces he needs to wear in order to navigate this world. He represents the subtle code-switching that a lot of First Nations people do in these spaces, those complex shifts that certain audience members may pick up on.
His fireball brother Keith (Danny Howard) could not be any more different. A character whose philosophy is to run-amok, he is encouraged to get his life straight and to pursue his apprenticeship. Despite his reluctance for stability, Keith’s attachment to home and his mob community brings an endearing quality to his personality. Through him we also get some insight on the treasured women in their family, their mum, sister, and niece.
Jacky’s opportunity to obtain a home loan comes in the form of Linda, a go-getter who runs the employment assistance agency helping him and Keith secure jobs. Performed by Mandy Mcelhinney, Linda represents a character who has good intentions but does questionable things with hurtful unintended consequences. With her agency in desperate need of funding for its community programs, she enlist Jacky to be its Indigenous representative. Leading him to make several compromises.
Then there is Glenn (Greg Stone), an insecure divorcee and a sex work client seeking to explore his racial fetish. In this transactional relationship, Jacky’s ability to satisfy Glenn’s fantasy murks the line between what's acceptable and deprecating.
Jacky's take on “performative labour” stands out in an intimate and at times unsettling way that lingers with you long after. Particularly in institutions meant to help marginalized or disadvantaged communities. A show that turns the idea of cultural representation in these settings on its head, and even how theatre still has a long way to go on whose voices gets to be heard on stage.
