Dramatic Elements in No Sugar

Certain ideologies in the past continue to have consequences in the lives of many today. This is the case with Western Australia’s policy of resettlement for Aboriginal people during the 1930’s. Jack Davis, an Aboriginal playwright, constructed the play No Sugar to challenge the view that this resettlement is acceptable. Davis uses dramatic techniques such as costume, setting, movement and symbolism to confront an audience of the injustice of resettlement and therefore initiate the process of attitudinal change towards the current Aboriginal situation. Drama is an effective medium for instigating this change as it is a multi-sensory experience and engages the audience more effectively than the written word.

It is true, of course, that novels establish well developed character relationships. However, drama is a more effective vehicle for building character relationships as it allows for non-verbal communication as well as dialogue. In Davis’ No Sugar, the tension between the Millimurra family and the ‘white’ authorities is amplified by the uncomfortable way in which they move around each other. This is also seen when representatives of the ‘white’ establishments and culture exercise their ‘authority’ over the family. An example of this is when Mary gets whipped by Mr Neal. His movements are angry, vengeful and malevolent, whereas her movements are of pain, terror, yet still quietly defiant in the face of her adversity. Actions become much more effective when they are acted out, rather than described. In addition to that they appear less deliberate and more unconscious. For example when Jimmy challenges Neville for a train fare, he juts out his chin to defy all of Neville’s racist attitudes presented. This described in a novel may be seen as deliberately mischievous however acted out, could be interpreted as an unconscious movement, and therefore supports Jimmy’s whole persona as the trouble maker.

Movement can also be used to reinforce loving relationships. The love contained within the Millimurra family can easily be shown by a tender embrace, or a ruffle of hair. Newly developing love like Joe and Mary’s could also be conveyed through a cautious kiss. Through these different kinds of actions and movement, the audience can develop their understanding of the relationships between two people or collective groups of people much more deeply than they could if they relied solely on dialogue and narrations

Costume in theatre is much more effective than described in a novel as it is a visual experience rather than just imagined. In theatre, costume can become much more than clothing, as it is able to carry symbols that may not be recognised if portrayed through the written word. Davis gives us a good example of this in No Sugar, when Joe returns home from prison bearing gifts. Joe is dressed in simple black pants and a yellow shirt. He gives his sister Cissie red ribbons for her hair, and his wife Mary wears a red dress. Together, all three represent the Aboriginal flag. Davis presents his flag and these colours in a positive way, as they appear when the mood of play is quite happy. Davis encourages us to associate the Aboriginal flag and therefore people with a happy mood and positive circumstances. If these costumes were presented in words, rather than visually, the symbolism would not be so effective or even recognised at all, so therefore would not evoke the same attitudinal change from the audience.

In addition to the visual experience of costume in drama, it is also effective for the audience to see character as actual people, and so therefore can see the embodiment of the issues that that particular character represents. In No Sugar, Davis uses characters to symbolise Aboriginal defiance, for example