This is musical comedy and wheatbelt Shakespeare rolled into one, bursting with sunlight and song, revelling in darkness, peopled with a rabble of broken-down vaudevillians, lingerie salesmen and war heroes.

The Man from Mukinupin is one of Australia’s great theatrical creations from one of our great poets and ratbags, Dorothy Hewett. In dusty Mukinupin, Jack Tuesday loves Polly Perkins and Polly loves Jack. But when night comes it’s Touch Of The Tar who tickles Jack’s drunken fancy. Through this double-Mukinupin, by day and night, Hewett gives us a twin vision of black and white Australia clinging together for all we’re worth.

Wesley Enoch and the great Kerry Walker mucked up big time in this special 30th anniversary production of Hewett’s full-throated glorification of our dark side.


Craig Annis
Suzannah Bayes-Morton
Lillian Crombie
Max Gillies
Alan John
Valentina Levkowicz
Amanda Muggleton
David Page
Kerry Walker
Daryl Wallis


By Dorothy Hewett
Director Wesley Enoch
Musical Director Alan John
Set & Costume Designer Richard Roberts
Lighting Designer Rachael Burke
Choreographer Jack Webster
Music Arrangements Alan John
Sound Designer Steve Francis
Sound Operator Jeremy Silver
Stage Manager Mark Lowrey
Assistant Stage Manager Joshua Sherrin
Vocal Coach Nicole Alexander
Fight Choreographer Kyle Rowling


A magnificently grand play by one of our greatest playwrights in a glorious new production: this show is a triumph for everyone involved.

The Australian

Just to have all this performed again, so well, would be enough for those of us who remember the original. But Wesley Enoch’s exhilarating and delightful production brings it freshly up to date.

The Australian

Enoch’s fluid reading is well served by Richard Roberts’s sand-floored set (featuring an intriguingly anachronistic caravan) and Rachel Burke’s vaudeville hall lighting and shadow play. Jim Cotter’s songs, arranged by Allan John and played live on a jangling upright piano, organ and tuba, sparkle intermittently though the creepy atmospheres created on double bass and scratched piano strings are effective.

The Sydney Morning Herald