Mary Anne Butler is an award winning playwright based in Darwin, NT and a PhD candidate in the College of Indigenous Futures, Arts and Society at Charles Darwin University. Her plays have won the  Victorian Prize for Literature, Victorian Premier’s Literary Award for Drama, two NT Chief Minister’s Book of the Year Awards and four NT Literary Awards for Best Script. In short, she’s a very impressive woman.

I caught up with Butler to hear more about CUSP, which Butler has written for the Australian Theatre for Young People (ATYP). Described by the company as ” a love letter to the young people and landscape of Australia’s Top End, and a reminder of the inherent privilege of being able to make your own choices,” CUSP explores parts of Australia rarely spotlighted on the mainstage.

What was your journey into theatre and how has it shaped your pursuits in academia and other creative fields?

I started out wanting to be an actor but quickly realised being in front of people really wasn’t for me. I am much happier behind the scenes.

I’ve always loved writing, so it felt like a natural fit for me to dive into playwriting, rather than portraying a character on stage.

The marriage of characters and people coming together really excites me. The first play I ever wrote was based on a friend who passed away. I think part of me wanted to still keep him in my life, so that play began as a conversation with him in my head, keeping connected to him after he’d died.

Tell me about your experience of writing CUSP, and seeing it come to life through ATYP.

CUSP was commissioned by AYTP. I was asked to write a play for young people paying particular focus to individuals in the top end.

This was during the time of the Don Dale youth detention centre riots and was an important opportunity to explore the feelings and thoughts of young people in the system.

The character of Rosie is based on a friend, Yolngu woman – Rosealee Pearson, who lives in Yirrkala – and her experience of what it was like to grow up in the remote Northern Territory, choosing between going to NAISDA in Sydney and wanting to stay in Yirrkala after she left school. It touches on those hard choices young people must make very early on in their life.

I felt incredibly supported by the team at ATYP, and it is absolutely glorious to see the piece come to life in their capable hands.

What does it mean to you to be producing a story about First Nations Peoples in 2023, particularly in the context of the upcoming Referendum on an Aboriginal and Torres Strait Islander Voice?

This isn’t a story ‘about First Nations People’, it’s a story which reflects the population of the NT, which is roughly one-third Indigenous; so to NOT have a First Nations character wouldn’t represent where or how I live. When ATYP commissioned this work, I told them I wanted to work alongside a First Nations Dramaturg or Cultural Consultant for Rosie’s story. This wasn’t about getting a sensitivity reader in, it was a case of research and writing with First Nations informed advice and consent. Rosealee Pearson and I already had a relationship, and she was happy to be Cultural Consultant, advising on cultural content and the geography of the road trip that features in the script. It meant a lot to work with her across this and other plays, and I hope to work with her again in the future. She’s awesome.

What is the one message you want every person who sees CUSP to take with them?

You have one life. Live it the way YOU want to. Believe in yourself, chase your dreams, and make sure you do what you’re passionate about.

What do you enjoy about the Aussie theatre scene, and what needs to change?

I love that theatre is a collaborative medium. I have the privacy of writing a script and with the help of designers, actors and a production team we can create something amazing together.

Whoever I’m working with always manages to find different layers to a piece that I didn’t know existed. It’s beautiful to see how a concept can develop and grow.

I’d love to see mainstream investment in the development of resources towards new Australian works. Classic pieces are always great, but we have so many rich stories to tell anew, as this world is changing so rapidly. I’d like to see more script investment in new plays which delve into the moral complexities of our time. It’s equally important for the future of Australian theatre to assist writers from the ground up. Less focus on high-end production values and more support to make the stories themselves strong, universal, pertinent to contemporary Australia. That’s what I’d like to see happen.

What type of wine would you pair with CUSP, and why?

As a lover of sparkling wine, I would have to say anything bubbly! It supports the fullness of life, and is irresistible.

Purchase your ticket to CUSP here.