And in Lauren’s defence, she never said there were no pyrotechnics, just that it was ‘light’ compared with previous editions. And ‘flare’ was in reference to the host’s multilingualism.

My comments are critical to be sure, but as a writer, irrespective of age and qualification, if writing in a public domain, there is a responsibility to your subject and to your audience.

I’m hoping that my comments can be seen as constructive because that is entirely the motivation upon which they have been written.

I’m sorry if this article has shortcomings when read through the lens of theatre-review and dramaturgy. I would’ve thought that any shortcoming could be forgiven considering the author is an undergrad student studying Aboriginal languages, not drama.

It is especially the latter that gives me the most concern. While there are examples littered throughout the article the final statement: ‘Trevor goes away to die, as he is laying down and covering himself, he is speaking in Pitjantjatjara, which I thought was very cool and nowhere else in the world would you see that!’ is symptomatic of an observer speaking solely from a euro-centric position. The writer displays ignorance of the wealth of Indigenous languages being performed on the stage across the globe and sadly, snuggles into the ‘isn’t it a wonderful world’ mentality. Is this just because language, an Australian Aboriginal language, is being performed on the stage in Australia?

This is more than a just a ‘cool’ phenomenon it requires a realization that a work of theatre is a product of its time and the interpretation of its makers to what the function of theatre is in our society.

There is so much more to be said but that is a separate article in itself.