IF THERE is clawing ambition and a monstrous director’s ego lurking in Wayne Blair, they’re well hidden. He’s making his debut as a mainstage director at the Sydney Theatre Company (STC) next week but as he ambles out of the rehearsal room in work boots, a checked shirt and floral boardshorts, eating a home-made curry, he doesn’t strike you as the intense type.
In conversation he is laid-back and slightly rambling and is stumped when I ask whether he has any goals as a director.
“I just like working with my friends and people I’ve worked with before,” he says. “But goals as such? Geez. Not really. Sorry, I will think about this.” He stares into the middle distance for a long, long moment.
“Oh, there is one!” he says triumphantly. “I love my housemates but I know that at the end of this year or at the start of next year, I want to get my own energy and my own place. That’s the goal.”
Surely there’s more to it than this. The boy who grew up in Rockhampton excelling in footy and cricket is so in demand as a theatre and film director that he doesn’t have much time left for the acting that launched his career. After directing David Williamson’s The Removalists for the STC, he’s moving on to the mainstage at the Belvoir St Theatre, reprising Brendan Cowell’s Ruben Guthrie, which he put on in the downstairs theatre last year.
But before then, he’s going to Western Australia to direct five more episodes of the television adaptation of Tim Winton’s Lockie Leonard series and the gigs keep coming: next he’s directing Romeo And Juliet for Bell Shakespeare’s schools program and he’s hoping to move on to his first feature film after that.
Blair makes it sound as if all this just happened. “I feel like I’ve been at the right place at the right time.” But it’s hard enough to make it as an actor-director, let alone an indigenous actor-director. Director Lee Lewis argued in a much-discussed essay in 2007 that Australian theatre companies were not proactive enough in creatively casting non-white actors and Blair agrees with her. Her book appeared when he was starring in a Bell Shakespeare production of Othello, the first indigenous Australian to play the title role in a mainstage show.
“I think her essay was very accurate,” he says, “because people of different ethnicity have had a hard go in this country, let alone in the theatre. People in the theatre tend to think they’re very left but when you look at it, sometimes they can be very safe.”
He acknowledges that some directors have taken risks with him: Neil Armfield has been a big supporter and Marion Potts convinced John Bell to cast him as Othello after being impressed by his gravitas as Colin Powell in Company B’s production of David Hare’s
Stuff Happens. Yet mostly he’s played Aboriginal characters, with the odd African-American, Moorish, even Greek thrown in. He’s seldom cast in roles where skin colour is irrelevant, another reason why he likes directing. “I’m not an indigenous director. I’m a director.”
He’s hardly fiery on the topic of race and for the most part amiably shrugs it off. It wasn’t an issue as a child, he reckons, though it helped to be good at footy.
“Growing up in Rockhampton as a person of different skin colour, sport helped – a lot,” he recalls. “When you get older and start achieving things and seeing things in the news again and again, you start to realise the world is a little bit different for you compared to other people. But if you think about it a lot, you lose a lot of sleep. So you tend to get on with life.”
Blair grew up on army bases, the son of a regimental sergeant major and a hospital domestic. He was shy but figured out early that he could entertain people. “I’d be the one singing Ice Ice Baby on the bus on the way back from the Gladstone-Rocky football trip. People used to love it.”
He spent six years entertaining tourists with indigenous dance then, with a cousin, created Didjeridon’t, which he describes as “like the Umbilical Brothers, except with a didgeridoo”. The pair performed for tourists all along the east coast and even went to South Korea. By then, he’d completed a bachelor of business at Central Queensland University, a decision prompted by little more than the desire to stay in Rocky with his girl and his footy team.
But with Didjeridon’t, people began telling him he should go to acting school, advice he initially found bewildering. He’d never heard of NIDA.
“I had no idea that you could give yourself permission to do what you want to do in life, really,” he says. Then he read up, auditioned and while he didn’t get into NIDA, he did get a place in the Queensland University of Technology acting course. He moved to Sydney after graduation, when he was cast in the Queensland Theatre Company production of The Sunshine Club, making his debut at the Drama Theatre at the Opera House in 2000.
It was a big decision to move south. Even after studying acting, he still assumed he’d return to Rocky and get a regular job. His parents assumed the same, until the opening-night party for The Sunshine Club, when Ruth Cracknell told his parents how talented he was.
“When Dad heard the lady from
Mother And Son commenting, that was the moment he thought: ‘Oh, this acting thing mightn’t be too bad for you.”‘
Soon, with help from Metro Screen, he’d directed a five-minute short, then a 10-minute one, then came accolades and awards for his short film, The Djarn Djarns. Television directing gigs followed, plus appearances in shows including Water Rats, All Saints and Wildside.
At 37, after nearly a decade in Sydney, Blair still plans his year around the times he can get back to family and friends in Rocky.
“I’ve got a new room downstairs in the house that I can go to and relax in the air-conditioning and watch my Foxtel and watch the rugby league,” he says. He borrows his dad’s car, cruises around town and swims. “Everyone down here, when it’s hot, is at the beach or the pool. Up in Rocky, everyone’s in air-conditioning at the RSL, so I’ve got the pool to myself.”
At the end of an hour’s chat, I’m still struggling to see the director in this footy-playing, Foxtel-watching, all-round good bloke. Sacha Horler, who plays Kate in The Removalists, confirms that as directors go, Blair is very relaxed. But she also points out this works to his advantage.
“He’s very laid-back and extremely positive,” Horler says. “I think it comes from being an actor and unconsciously he must know that we thrive on positive feedback. So he’ll always end the day with this lovely surprised look and say: ‘That was really great! You did really, really great work today.’ And so they do.”
It was this ability with actors that first caught the attention of Cate Blanchett and Andrew Upton, who were impressed by his Romeo And Juliet and Ruben Guthrie. They approached him to direct The Removalists because “he has a very spare, nuanced eye for pain and the violence it leads to”.
Steve Bisley, who plays Sergeant Simmons in this brutal but funny play, says Blair has an instinctive approach to theatre. Unlike many directors, he’s not at all cerebral. “He’s very emotionally connected to the work,” Bisley says. “You can feel him feel it.”
So it should not be surprising that, a few days after our interview, I get a call from Blair. He’s worried about his “lame” answer to the question of his goals as a director. He was so caught up in working through the complexities of The Removalists, he explains, that he overlooked the obvious.
“My main goal is to make a feature film. And then hopefully another one and another one.” Perhaps he will find himself “in the right place” to do this, too.
The Removalists opens on February 5.