Join playwright and director Wesley Enoch in an interview with Mark Radvan, who explains his process and reveals some interesting observations when comparing directing works for children and directing works for the Indigenous community.

Over a professional theatre career spanning fifteen years, Wesley Enoch’s directing credits have carved a swathe across Indigenous writing with productions of Gilbert’s Cherry Pickers, Davis’ The Dreamers and Jane Harrison’s Stolen to name but a few. His writing credits are almost as many including co-writing The 7 Stages of Grieving with Deborah Mailman, and winning the 2006 Patrick White Award for his play Cookie’s Table.

Perhaps less visibly, since 2005 Enoch has also directed a suite of works for children and young people that include most recently Nargun and the Stars for ERTH Visual and Physical Inc. and Boat for the KITE Arts and Education program @QPAC, as well a range of work for the last two Out of the Box Festivals of Early Childhood that are held biennially in Brisbane, Queensland.

In a recent telephone interview with Mark Radvan, Enoch discussed some of the issues underlying Boat and made some interesting observations comparing directing works for children with directing works for adults and for the Indigenous community.