As an Australian football fan, I was very intrigued and excited to see 37, written by Nathan Maynard, at the Melbourne Theatre Company. Having grown up playing footy and being around footy, it was great to be taken back to the club rooms, the drills, and warm-ups of a club. It isn’t often that I can so easily relate to a stage show, but with this one, I was right there.
37, named after footballer Adam Goodes’ jumper number, follows the season of the Canning Creek Currawongs. The Currawongs are a typical country footy town, the heart and soul of the community, steeped in tradition, but lacking the ultimate success: a premiership. Leading the Currawongs is the tough-as-nails coach, The General, played by Syd Brisbane, channeling his inner Tommy Hafey. The General is in his fourth year as coach and this is the season to deliver that long-promised Premiership.
Recruited to help the team are Marngrook boys Jayma and Sonny. Their arrival introduces the challenges and complexities of a small town grappling with different cultures and ways of life. We journey through the season with the team, from their pre-season training camp all the way to the finals, experiencing the trials and triumphs of a group of country-bred footballers as they navigate these new dynamics.
37 skilfully interweaves the story of the Currawongs with the broader social context of the racism debate that surrounded Adam Goodes, in 2015. Jayma and Sonny find themselves caught in the crossfire, as the club grapples with varying perspectives on race – from ignorance and outright prejudice to attempts at understanding and genuine allyship. The play confronts the audience with a range of viewpoints, prompting reflection on the complexities of racism and the difficulty in identifying and addressing it.
Jayma, played by Ngali Shaw, and Sonny, played by Tibian Wyles, seamlessly integrate into the footy club environment as the Marngrook boys. Their acting talent is undeniable, and their movement is so fluid that it feels as if they stepped directly from the footy field onto the stage. Choreographer Waangenga Blanco masterfully captures the physicality of Australian Rules Football, translating the bumps, tackles, and the dynamic flow of the game onto the stage with impressive precision.
Overall, the show is an excellent portrayal of football club life. The characters are incredibly well-developed, making the club feel authentic and relatable (look out for Gorby, every club seems to have a Gorby). Director Isaac Drandic has done a wonderful job of weaving this complex story together with a fantastic cast. I believe lovers of Australian Rules Football will find much to appreciate in this show, from the familiar on-field dynamics to the nuanced exploration of the human element within the sport.