While the Eternity Playhouse remains dark following the collapse of Darlinghurst Theatre Company, the East Sydney Community and Arts Centre (ESCAC) is proving to be a vibrant space for bold new work. Forgive Me Father, I Am Fat, Black & Ugly is a compelling addition to the theatre landscape, tackling self-perception, race, and identity with unflinching honesty.
At the heart of the production is Phoebe, a 19-year-old girl burdened by the weight of societal expectations. She is fat, Black, and struggling to find her place in a world that prioritises thinness, whiteness, and conventional beauty. Through a series of vignettes, the play shifts between different points in her life: from innocent childhood moments playing with dolls to complex and painful experiences with her strict auntie, to her conflicted feelings about her intimate encounters with other girls. Her journey is a confession, an unravelling of deep-seated shame, and an attempt to reclaim her sense of self.
ELIVA, both writer and performer, delivers a powerful and deeply personal performance. While shifting between multiple roles—including Phoebe herself, her judgmental auntie, and even God—there were moments where the transitions felt disjointed, but ELIVA’s commitment to each character was evident. Her portrayal of Phoebe’s inner conflict is raw and affecting, revealing the devastating impact of internalised oppression. Her performance was strong, demonstrating bravery and commitment to the craft, and while there is more development to come with this work, the dedication to bringing new theatre to audiences is commendable.
Under the thoughtful direction of Nancy Denis, the production balances moments of vulnerability with striking theatricality, though some transitions could be refined further to enhance clarity. Holly Jane-Cohle’s set design effectively delineates Phoebe’s world: a childhood space of innocence versus the more oppressive realm of her aunt. Kiera Louise’s lighting and sound design enhance the play’s emotional depth, marking transitions in time and mood with precision.
Part of Flying Nun’s Neighbourhood Sin program, this Queen Hades production was a work in development, its limited two-night run leaving a lasting impression. At just 45 minutes, the piece is succinct yet potent, offering a vital, urgent exploration of self-worth, belonging, and resilience.
Encouraging new Australian work is essential, and what Flying Nun and Brand X are doing is incredible. Developing new theatre and taking the time to invite audiences and reviewers into such raw and intimate work is brave and commendable. It is important to approach reviewing shows at this stage of development with sensitivity, acknowledging the courage it takes to share unfinished work. This production exemplifies the strength of emerging theatre-makers and the necessity of platforms that foster artistic growth.
If this is just the beginning for Forgive Me Father, I Am Fat, Black & Ugly, then ELIVA has crafted something truly remarkable—an unfiltered, necessary voice in contemporary theatre.