REVIEW: The Campaign - Underground Theatre Company

The Campaign by Campion Decent

Presented by Underground Theatre Company

Synopsis

In 1988, more than one hundred people were arrested at Salamanca Market in Hobart. This happened when the Tasmanian Gay Law Reform Group resisted a prohibition on their stall, which advocating the decriminalisation of homosexuality. This led to a lengthy, difficult, and courageous struggle to repeal a law regarded the harshest of its kind in the Western world—and the last of its kind in Australia.

Drawing from firsthand testimonies, parliamentary records, and media from the time, Campion Decent’s The Campaign traces Tasmania’s path from criminalisation and discrimination to eventual legal reform and acceptance. Told through a verbatim lens, it is a moving and fiercely important piece of theatre.

Before the show even began, the message was clear. “I’m Coming Out” blared from the speakers as actors mingled onstage, while the back wall—covered in butcher’s paper—was gradually splashed with slogans and time stamps in rainbow paint.

Performed by five actors in uniform white shirts and black pants, The Campaign unfolded as a powerful ensemble piece, weaving together dozens of real voices, experiences, and memories from those at the heart of the Tasmanian gay law reform movement. Narrated collectively, it told a story of protest, perseverance, pain, and power.

Cullyn Beckton gave a grounded and honest portrayal as Rodney Croome, who was raised in a conservative household and driven to become one of the state’s most passionate advocates for change. Cullyn captured both Rodney’s vulnerability and growing conviction as an activist. Their courtroom and media scenes were especially impactful, resonating with genuine emotion.

Lachlan Williamson, Abigail Thomas, Holly Lightbody, and India Johnson demonstrated exceptional versatility and authenticity in their various roles—from passionate campaigners to prejudiced politicians, grieving friends to hesitant family members. They managed an immense amount of dialogue, rapid character shifts, and intense emotional whiplash with clarity and unity. Pre-recorded video interviews were used sparingly but to powerful effect, grounding the narrative in real-life experience. Reflections from time in their jail cells were especially affecting.

Throughout the performance, there were frequent moments of audience discomfort—not because of the production itself, but from the painfully accurate reenactments of anti-gay speeches, misinformation, and hate speech that once aired freely in public forums. Watching the actors embody these voices of cruelty and ignorance prompted audible groans and scoffs. It was a crucial reminder that this wasn’t ancient history in our country. It was the 1980s and '90s, a period still within living memory for many.

The play shone a spotlight on the glacial pace and injustice of the journey toward equality in Tasmania—where the punishment for gay sex was as severe as 21 years in prison At the time, that was longer than the sentence for rape or armed robbery. It's unthinkable now. And yet, it was reality then.

While the production leaned heavily into dialogue over visual storytelling—and some character shifts weren’t always clear without costume or prop indicators—the cast managed to maintain narrative clarity. Dakota Ehrlich’s minimalist set and Helen Butler’s stark lighting design kept the focus firmly on the words and the people speaking them.

Despite the heavy subject matter, there were moments of levity—some unexpected, some musical, some strangely delightful, which offered necessary breaths between the weightier scenes. There was real beauty in the portrayals of queer community, chosen family, and the quiet, enduring reality that many face: “we never stop coming out."

This production was an education. For younger audience members it offered a vital insight into a chapter of Australian queer history that too few are taught. For older folk, it may have served as a reckoning or a reminder of how far we’ve come, and the sacrifices involved.

And it was timely. With trans rights still under attack and the embers of hate being reignited in public discourse, The Campaign served as a sobering reminder that progress is never guaranteed. That equality is hard-won. And that human rights are fragile, always requiring protection, vigilance, and collective action.

A standing ovation felt almost inadequate for a story of this magnitude. The Campaign provoked, educated, and empowered viewers. It honoured those who fought for justice and reminded us all that the fight is far from over. Because, as this powerful piece made heartbreakingly clear, progress only happens when people actively campaign for it.

Cast:

• Cullyn Beckton

• Lachlan Williamson

• Abigail Thomas

• Holly Lightbody

• India Johnson

Creative Team:

• Director: Lachlan Boyes

• Assistant Director: Jai Bofinger

• Stage Manager: Gigi McLaren

• Assistant Stage Manager: Janae Smith

• Production Designer: Dakota Ehrlich

• Lighting Designer: Helen Butler

• Sound & Video Designer: Ned Lane

• Production Assistant: Sasha Brewin-Brown

Warnings: Contains strong coarse language, hate speech, adult themes including homophobia, HIV/AIDS crisis, mental health and suicide. Themes of trauma and discrimination.