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Season of great work

In March 2019 it will be 20 years since Bathurst Memorial Entertainment Centre (BMEC) opened. On 19 November this year BMEC launched their 20th Reliance Annual Season. Audience members who attended saw excerpts of the Season shows and received updates on other activities in the centre over the next twelve months.

For BMEC Members the Season shows are now on sale and if you want to make sure you get the best seats it may be worth considering becoming a Member. As well as securing prime seats Members can save up to 20% on tickets, have flexible payment plans and often get discounts to productions outside the Season that tour to the venue. Sales to the general community commence on 14 January.

The 2019 Season gets off to a musical start on Sunday 24 February as we celebrate Seniors Week with The Beggars Sing the Seekers , The Beggars are three brilliant musicians with a beautiful sound – they are known for their great harmonies and they will present The Seekers story with all of the hits. From 28 February Mighty, a new work by Bathurst’s own physical theatre company Lingua Franca will premiere at BMEC. Lingua Franca have been working with visual artist Harrie Fasher who is creating large scale steel sculptures for the production.

The season continues in March with Two, an Ensemble Theatre production. This play by Jim Cartwight is set in a local pub and 2 performers play all of the regulars, a misfit crowd of eccentric individuals, as well as the publicans themselves. Two will be presented on Thursday 21 March.
April will be a busy month at BMEC with 3 diverse productions: In Between Two on Tuesday 9 April stars two stars of the Australian music scene TZU’s Joelistics and ARIA nominated producer James Magohig are icons of hip-hop and their family histories are complex and fascinating. This work will engage young and old.
International mezzo soprano Helen Sherman returns to Bathurst to perform with The Australian Haydn Ensemble on Friday 12 April. The program will feature Helen’s stunning voice with string orchestra, harpsichord and theorbo.
In mid April Ghenoa Gela brings her one women show My Urrwai to the stage. Ghenoa is a recipient of both the renowned Keir choreographic Award and the Deadly Funny Melbourne International Comedy Festival Award. Laughter and deep reflection go hand in hand in this unique and intimate story told through movement and words.
The season includes 18 productions and there is sure to be something for everyone.

Review: The Climbing Tree by Suzie Gibson

The Climbing Tree was presented at Bathurst Memorial Entertainment Centre (BMEC) from 2-6 November. This new work was developed by BMEC in association with Australian Theatre for Young People. Review originally appeared on

The Climbing Tree is a significant original play developed by Rachael Coopes over a four-year period. It contemplates the power of place, specifically Bathurst, as a sphere that both fosters and challenges identity. This theme, poignantly dramatised through four teenage characters – Kylie (Jayla-Shae Davey), Rayleen (Madelaine Osborn), Scott (Janda Nichols) and Will (Jack Walton) – also addresses the elasticity of place as an invisible sphere of memory, nostalgia, and even, trauma.

The Climbing Tree moves seamlessly between the past and the present, grappling with past crimes perpetrated against the regions Wiradjuri peoples as well evoking the violent history of Bathurst’s Colonial settlement. As such these four actors assume other identities and voices throughout the drama including disenfranchised Irish convicts.

Supporting these characters is a clever set design where sandstone-coloured blocks and cloud-like architectural shapes represent Bathurst’s mixture of rural and structural landscape. The music is especially impressive, with Tim Hansen creating a mood that evokes the experimental style of The Necks, arguably-Australia’s best improvising trio. Hansen’s sound design is especially important to the aestheticism and thematic of A Climbing Tree as a play that addresses our-often conflicted connection to place.

In light of this, The Climbing Tree is also about haunting and being haunted and this is enacted through sounds and names that summon historical events and individuals who have come to shape the unique town and surrounds of Bathurst. For example, the famed ‘Ribbon Gang’ are recalled, where convict Ralph Enwistle led a group who pillaged farms and liberated other convicts. Eventually caught and convicted, he and many offenders were publicly hanged in Bathurst. What remains of this unprecedented execution is a street called ‘Ribbon Gang Lane’ and it is acknowledged in The Climbing Tree as the site near the Church Bar pizza restaurant. This overlapping of the past and present reveals our strange, even uncomfortable relationship to history.

Cleverly, the play is also experienced as a ghost story. One of its climactic scenes features the four leads in a spooky Georgian attic, where they imagine the lives of deceased relatives whilst also experimenting with sex, alcohol and drugs. The coexistence of the past and the present in The Climbing Tree is also about how white and non-white history is both inscribed and buried. For example, Bathurst’s Mount Panorama is mentioned not as the famed racing site, but as a sacred Wiradjuri location that for thousands of years has been named ‘Wahluu’ (a place where young men are initiated). Such a reminder of the land’s ancient heritage reminds us of the extensive ‘white-washing’ of the continent, with numerous sacred sites being appropriated for white consumption.

Importantly the play features indigenous characters who are also first nation peoples — ‘Scott’ played by Janda Nichiols who a Gamilaraay man, and the ‘Kylie’ played by Jayla-Shae Davey who is a Miriwoong actor. They bring a level authenticity and gravity to a drama that grapples with the difficult relationship between white and indigenous Australians. Kylie and Rayleen often refer to this as the ‘us and them’ mentality.

This binary of ‘us’ versus ‘them’ is not only about a continuing division between white and non-white Australia; it also includes the experience of being a Bathurstian teenager who feels ‘really lonely’. However, there is respite for the Bathurst four — Kylie, Rayleen, Scott and Will — who embrace the open spaces and beloved sites of the town’s Machattie Park, duck pond, local ice-creamery and its ‘climbing tree’— a cherished sapling located in Kings Parade.

The Climbing Tree dramatises a conflicted relationship to Bathurst that is articulated through teenage and historical angst. Such conflict is also experienced as a tension between place and a lack of place that is never quite resolved. In this way, The Climbing Tree reveals the complex nature of our existence where emotion and memory are often powerful expressions of a struggling need to belong. Moreover, belonging is not necessarily achieved through connecting with material things and visible places, but rather-with ideas, sensations and memories.

The Climbing Tree is a very sensory, touching and poignant drama about Bathurst as both a material and imaginative sphere. It is a complex and profound play that is not to be missed. The Climbing Tree is due to be performed at the Lennox Theatre, Parramatta, Thursday November 22 until Saturday November 24.