Whitefella Yella Tree review | The University of Melbourne

Dylan Van Den Berg's Whitefella Yella Tree follows Ty, of the River Mob, and Neddy, of the Mountain Mob, who meet under a lemon tree and, over time, grow from cheeky teenage messengers into young men in love as their world changes beneath the shadow of colonisation. With direction from Declan Greene and Amy Sole, the narrative weaves together Blak queerness, the pain of dispossession, and the weight of the past with a sharp, poetic edge.
 
Joseph Althouse and Danny Howard are terrific as Ty and Neddy. Althouse shines as the more anxious Ty, always glancing to Neddy for reassurance. He depicts Ty’s sensitivity beautifully, letting emotional shifts play out with a quiet honesty. Howard, on the other hand, plays Neddy with a rush of excitement and bravado, the kind of kid who believes nothing bad could ever touch him, while hinting at the loyalty and warmth that make him such a compelling counterpart to Ty. As the story moves on and the years roll by, we watch them shift from boys into men shaped by very different paths. Through it all, the two share a surprising softness and affection, and Greene and Sole guide them into moments that feel intimate and earned.

Van Den Berg’s script throws us straight into the action, with the boys meeting for one of their exchanges. They are playful and spirited, not quite taking their task as seriously as they perhaps should. As time passes, Blak queerness and love are explored while thoughtfully examining the long-lasting consequences of colonialism. Along with Browne’s contemporary costuming, it suggests that the repercussions of these events keep affecting Indigenous people today.
 
There is some outstanding lighting realised by Kelsey Lee and Katie Sfetkidis. The lights often emphasise the ancestral ties and differences between the pair and their mob, with one side of the stage a burning red and the other a deep cool blue. The way the lighting presents their unification and their deepening passion is powerful.
 
Steve Toulmin’s composition and sound design evocatively captures the environment these boys are in, bringing the wind, running water, and wildlife into the production. At other times, overpowering sounds crash in, heightening the inevitable outcome awaiting them and the whitefellas who have settled on their land.
 
Mason Browne’s set design firmly lands us in the world of Ty and Neddy. There may be outside forces around them, sure, but in this place, Browne makes it clear that we are in their space. The imposing roots of the lemon tree hanging above them however, hints that this sanctuary will eventually be torn apart.
 
Whitefella Yella Tree is a striking, emotionally charged production that balances humour, tenderness, and political weight. Every element works together to create a world that is alive, urgent, and deeply moving. It’s a story about love, identity, and the lasting impact of history, told with care, heart, and a clear-eyed understanding of the injustices and challenges that continue to shape Indigenous lives.

Whitefella Yella Tree was performed at the University of Melbourne between 13 - 15 November 2025.

Image credit: Prudence Upton