Bennelong Play Review: Funny, Clever Indigenous Story in London 2026

Bennelong brings a powerful Indigenous warrior to the stage in a funny and clever play that reexamines history. In this Bennelong play review, we explore how Jane Harrison's production at the Sydney Theatre Company, now showing in London, uses a present-day actor to interrogate a complex historical figure. The play's ingenious framing—where an actor auditions for the role of Bennelong and summons the spirit of the Wangal leader—creates a dynamic dialogue about identity, colonization, and storytelling.

Overview of Bennelong the Play

Set in present-day Warrane/Sydney, the play follows Sebastian (played by Guy Simon), a young actor preparing to audition for the role of Bennelong. He calls forth the spirit of Woollarawarre Bennelong (Googoorewon Knox) into his living room. What unfolds is a sharp, humorous, and emotional confrontation as Sebastian attempts to understand the motivations of the man branded both traitor and collaborator by different perspectives. The production is staged minutes from Bennelong Point and the Barangaroo precinct, grounding the story in the very lands where Bennelong lived.

Key Themes and Performances

Jane Harrison, known for her works Stolen and The Visitors, masterfully tackles the complexities of Bennelong's life—his kidnapping in 1789, his time as an intermediary for Governor Phillip, and his three years in London. The play challenges white historical interpretations while highlighting tensions among First Nations perspectives. Guy Simon and Googoorewon Knox deliver compelling performances that blend humor with deep emotional resonance, making history feel immediate and relevant.

Comparison with Other Indigenous Productions

This table highlights how Bennelong uniquely combines historical fact with a contemporary framing device, allowing the audience to question both the past and present-day storytelling.

Key Takeaways from the Play

• Bennelong reframes a previously vilified figure as a complex survivor navigating two worlds.
• The play uses humor to make heavy historical topics accessible and engaging.
• It interrogates who gets to tell Indigenous stories and how those stories are shaped by power.
• The performances by Guy Simon and Googoorewon Knox bring depth and authenticity to the roles.
• London audiences gain a direct experience of a crucial part of Australian history.

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