Nathan

Male | 30s | under 3 minutes
Starts on page 1

EXTRACT: The story goes something like this... When my great, great grandmother was born, it was under a tree - a tree her mother had chosen. We believe the tree you're born under gives you something... like part of its spirit - and this tree was chosen 'cause it was strong with a wide trunk, yet supple enough to bend in the wind to survive fierce storms... While her mother held onto a branch surrounded by her aunts, my great, great grandmother was born.

Annie

Female | 50s | under 3 minutes
Starts on page 2

EXTRACT: And that day she cooked up the biggest feed and, if you believe the stories, she did that loaves and fishes thing, feeding thirty men with half a pound of flour, a lump of meat and some stale tea. The men reckoned that cook fella could go get stuffed 'cause no way they were going back to his shitty food after they'd tasted Cookie's meal. That cook fella got all gooly up and rowed hisself back to the mainland. She was it from then on - and even later when other women came to live in that house - Cookie ran that kitchen.

Annie

Female | 50s | under 3 minutes
Starts on page 11

EXTRACT: Fuck off, I said! [Pause.] You go on about black this and black that - I'm your elder smart arse/ you want to be black you start showing me some respect. You come here with your big words... thinking to run rings around me with your university bullshit. You can't choose your family. There's a bit of wisdom for you, prick. I'm still your mother whether you like it or not.

Annie

Female | 50s | under 3 minutes
Starts on page 26

EXTRACT: I was thirteen. You were meant to look after me. You were meant to believe me. I have not got a dirty soul... I have not got a dirty soul... You were meant to believe me... believe me. Do you hear me? If you walk out that door... 'Set the table, Annie. I'm cooking a big feed.' 'Set the table Annie.' 'Sylvia Anne, set the table.' I'll fucken set the table, you bitch. I'll fucken set it for you...

Annie

Female | 50s | 3 to 5 minutes
Starts on page 52

EXTRACT: When someone dies it's like you get pushed up the queue, you get closer to dying. And it doesn't happen slowly, like you know it's coming... it hits you like a tidal wave. All the things you thought you needed to say just wash away. That's why having kids is so good, it keeps you thinking about the future. You got to think about the future. Fuck the past. This table don't mean nothing. Fuck, I can't tell whether those stories are true or not. But we all needed that table. Kawana, those old girls... we needed something..

INTERVIEW: WESLEY ENOCH

KATE FOY, GREENROOM, 2011

The Greenroom's Kate Foy talks with Wesley Enoch following his first twelve months at the helm of Qeensland Theatre Company.

INTERVIEW: WESLEY ENOCH

CURRENCY PRESS, 2007

As Currency Press' featured author for August 2007, Wesley Enoch talks about 'The Story of the Miracles at Cookie’s Table', opening at Griffin Theatre that month.

REVIEW: THE STORY OF THE MIRACLES AT COOKIE'S TABLE

BRYCE HALLETT, SMH.COM.AU, AUGUST 2007

"Wesley Enoch's warmly engaging play affirms that there really is more than one side to a story and that simple truths can prove elusive."

INDIGENOUS ART: COLLABORATION AND INNOVATION

KEITH GALLASCH, REALTIME #67, JUNE-JULY 2005

"My own writing is a natural extension of my relationship with the work on the floor. I’m more of a director than a writer."

ATSI GUIDELINES FOR DRAMA/THEATRE EDUCATION

DRAMA AUSTRALIA

The preparation of this document was commissioned by Drama Australia to foster access and participation in learning, taking in the broader context of Indigenous educational perspectives and redefining their relevance in the study of Contemporary Indigenou