by David Milroy

Maymay, an elderly Aboriginal woman, revisits an abandoned Kimberly cattle station in  the far north of Western Australia. She explains to her daughter, who interrupts her on her cell phone, that she has unfinished business on the station which she has no intention of sharing with her daughter. Maymay discovers her old clothes line and wash tub and sets about hanging up the now rotted sheets that she never got to hang out forty years prior. Maymay explains that “If you start something you must finish it even if it doesn’t matter anymore”. She traces the journey of her life on the station and the interaction between the white station owner, his wife and the Aboriginal workers. We learn of the hardships for both black and white in establishing the cattle industry as well as the cultural and social stigma attached to mixed relationships and babies born of mixed blood.

David Milroy has been involved in theatre for a number of years as a musician, director and writer. He has written and directed a number of plays including King Hit which won the 1998 Premier’s Book Award, Runumuk and Windmill Baby. David was Artistic Director of Yirra Yaakin Noongar Theatre for seven years and received a Myer Award in 2002 for his contribution to the development of indigenous theatre. In 2000 David was a guest Director of the American Playwrights Conference in Connecticut and has attended the Australian National Playwrights Conference on a number of occasions as a writer and Director.


David has also directed No Shame for Mainstreet Theatre in Mt Gambier and worked with Polyglot Theatre in Melbourne. David has previously provided musical direction for Sistergirl and Dead Heart for Black Swan Theatre Company and Perth Theatre Company's production of Wild Cat Falling. David co-wrote and directed Sally Morgan's hit play Cruel Wild Woman and Barking Gecko's production of Own Worst Enemy for the Festival of Perth.

David is currently living in Sydney and recently won the 2004 Patrick White Award for his play Windmill Baby and received a Fellowship from the Theatre Fund of the Australia Council.