Barbara Hostalek’s Thirst, developed through Yirra Yaakin Theatre Company‘s Yirra Yaarnz writers’ program, marks a warm and lighthearted turn in her playwriting journey. From its origins as a short workshopped piece, the play has evolved into a full-length production that balances humour and heart within the familiar walls of a small country pub.
The story follows a singer named Lola (Della Rae Morrison) who returns home alongside her partner and fellow musician Chico (Bruce Denny) to become the first blackfellas to run The Glass Slipper, a pub Lola has inherited from her white uncle. They soon discover that the pub is not exactly the busiest watering hole in the west, but Chico has all sorts of plans to revitalise it, if only he could get Lola on board – or back on the pub’s stage, at least.
As preparations unfold for a karaoke fundraising night with the Country Women’s Association (which Lola playfully dubs the “Chin Waggers Association”), complications arise when the karaoke machine breaks down. But community spirit prevails, and the night goes on. Rounding out the story are a young barmaid (Leah Pigram), who swings between staying and impulsively leaving for the city, and a bright young man (Jarrad Inman) who is keen to win her heart. Their subplot adds additional perspectives to the central theme of why people leave and return to small towns.
The audience becomes part of the action during the CWA function; we’re invited to sing along to three songs led by Inman, who dons a bald cap to do a spot-on Peter Garrett for “The Dead Heart”, and Denny, who delivers a joyous and tender “Sweet Caroline”. Performed in Subiaco Arts Centre’s studio space rather than the usual main stage, the play embraces its intimate setting. The set by Charlotte Meagher is effective and evocative of a slightly dated country pub, and lighting by Jolene Whibley is thoughtfully applied to match scene moods.
Schnaars’s staging is straightforward, though at times perhaps too reliant on front-facing dialogue. This occasionally hindered the actors’ ability to connect fully with one another on stage. While a small stage space does limit movement, it can also create tremendous opportunity for performers to really connect, listen, and work off each others’ words, body language, and expressions. By contrast, the straight-to-audience delivery suited the karaoke scene, letting us know we’re part of the fun.
As always, Della Rae Morrison’s warmth, humour, and vulnerability were a highlight. Her portrayal of a singer grappling with the fear of performing again after a vocal injury was both touching and sincere, adding an unanticipated emotional level to the overall story. For me, it’s been a long time between drinks when it comes to seeing Bruce Denny perform on stage, and his Chico was a charming pairing with Morrison’s Lola. He sold me on his optimism for the future of The Glass Slipper, but it was his genuine adoration of Lola that gave Chico his beating heart.
In his director’s notes, Schnaars speaks to how Aboriginal theatre is largely rooted in the trauma that First Nations people have lived with since British invasion, and affirms that the company will continue to address this trauma in its works. However, he notes that Thirst takes a step away from trauma, instead exploring universal themes through Aboriginal perspectives. What makes Thirst significant is its intention to tell a funny, sweet story of connection, hope, and finding one’s voice and one’s place in more ways than one. Thirst is a gentle and joyful piece that showcases Hostalek’s comedic sensibility, adding another successful piece to her growing body of work.
CICELY BINFORD
Thirst by Barbara Hostalek and Yirra Yaakin Theatre Company runs from 29 Apr – 10 May 2025 at Subiaco Arts Centre. For tickets and more information, visit here.
