Tue Mar 12

Respect and disrespect clash throughout 37 – a brilliant new play exploring Australian Rules Football

Written by: Julie Andrews, Professor and Academic Director (Indigenous Research), La Trobe University

Guernsey number 37 belonged to Aboriginal star football player Adam Goodes when he played for Sydney Swans. Goodes was loved by the AFL and spectators, admired for his skill and leadership for most of his outstanding career. Goodes loved his job and he was a role model for younger generations.

But something went wrong.

It was May 2013, the “Indigenous Round”. Goodes’ team was playing against Collingwood. A 13-year-old Collingwood fan yelled at Goodes ^[1] and called him “an ape”.

Overhearing this, Goodes asked security to have the girl removed from the stadium. There were supporters of Goodes and supporters of the girl. The media focus was intense.

In 2014, Goodes was awarded Australian of the Year ^[2]. This fitted the climate: get things back on track; do something positive.

In 2015, after kicking a goal, Goodes celebrated with a cultural dance ^[3] in front of Collingwood fans. The dance ended when Goodes threw an imaginary spear. Performed by Aboriginal men across Australia, the “spear dance” symbolises when men are facing other men from a different clan/tribe for war – like teams facing each other before the siren.

The dance was mistaken to represent something else by AFL spectators across Australia: a war dance and spearing all white people.

From then, Goodes was booed ^[4] across Australia whenever he played. The intensity of the media and the debates raging made him hate being on the football field.

After 18 years of playing elite football – 372 games, 464 goals, two Brownlow Medals, two premierships – Goodes left the game in silence ^[5].

Today Goodes is a mentor and a cultural warrior outside the game. He has established a foundation to support youth with their identity and culture while at school and university.

The incidents are referenced in the play 37, from playwright Nathan Maynard. We watch a local football team gathered around a television to watch the game that ended it all for Goodes.

The best player of the team, Jayma (Ngali Shaw), is Aboriginal, and arrives to watch the game proudly wearing the Swans Indigenous Round guernsey with 37 on the back. Jayma is confronted by negative comments made about Goodes.

Then they watch Goodes celebrate with the spear dance.

The banter is no longer funny and the tension and disregard to the Aboriginal player honouring his idol is an insult to the team.

Pushed to the edge

Australia loves sport – even more so with a good drama. 37 has it all and more: history, gems of insight into black and white aspirations, cultural dance, swearing, sporty actors, young and old men in their element as they bond to play football with hopes of winning a premiership.

37 is set in the locker room of a local football club. Pia Johnson/MTC

Directed by Isaac Drandic, 37 opens with Jayma showing us the Marngrook ^[7], the Gunditjmara/Aboriginal word for a team game kicking and marking a possum-skin ball. The game would go on for days. Jayma and Sonny (Tibian Wyles) identify as “Marngrook cousins”; a minority in a majority non-Aboriginal team.

Like Goodes, the team starts out great: they bond and have a great time. As the play progresses, Aboriginal and white relations change and mateship is put to the test.

The team dream about winning the premiership, and we watch them in the locker room where the players change pre- and post-game. There are hopes and aspirations for every team member, but the Aboriginal players carry burdens the other team members do not.

Ngali Shaw and Tibian Wyles sit on the edge of the stage.

The Aboriginal players carry burdens the other team members do not. Pia Johnson/MTC

The Jayma’s father has a history with the football club - he was a star player in the team – but didn’t show up for the final game – costing the club a premiership. There are other stories of parents and their behaviour. The team learns of the contract the Aboriginal players signed to be paid for playing; Sonny explains the contract is helping his family to pay rent, buy food and items for the kids.

The highs and lows of 37 are centred around winning the premiership. As the season progresses they are winning, but the mateship becomes less friendly. What starts as happy banter changes. The jokes take on a sinister tone. How long will these team mates tolerate such personal comments? Even the coach, “The General” (Syd Brisbane), gets pushed to the edge when his wife is targeted.

When the siren sounds, aggression on the footy fields subsides – but for the Aboriginal players, the confusion and disappointment lingers.

Levelling the playing field

Maynard tackles difficult topics, using his talent to poke and prod the audience to witness the uncomfortable perspectives around the Goodes incident, raising ideas about family, success and trauma.

Maynard tackles difficult topics, using his talent to poke and prod the audience. Pia Johnson/MTC

It is a wonderfully athletic cast – a spectacular fast warm-up shows the cast’s sporting skills, and Drandic carefully plays with tension. We observe how Aboriginal and non-Aboriginal team mates try to support each other against other team members’ comments that leave us stunned – but then another comment is made and we’re even more stunned.

But some things said can not be diffused, not even by the cultural awareness program a team member was ordered to attend.

Among the racial backlash, and in a tribute to Goodes, the Marngrook Cousins perform a mesmerising spear dance to illustrate their pride and strength.

Respect and disrespect clash throughout the play leaving us guessing and bracing ourselves – even, perhaps, embarrassed. I walked away from the show in awe of Maynard’s ability to apply history to the stage. I hope audiences can keep learning about Goodes, and continue levelling the playing field against racism in sport.

37 is at the Melbourne Theatre Company until April 5.