Meet Tahlee Fereday – the multidisciplinary taking on the stage in Jada Alberts’ brand-spanking-new original play, Black Light. Described as a love letter to Blak motherhood, Black Light follows the story of an intergenerational family of Aboriginal women and the connection to Country, community and each other that beats like a heart at the centre of it all. We caught up with Tahlee amidst rehearsals to talk all things Blak theatre, fangirling, and becoming a mum herself.

Tell us a little bit about Black Light and your role in it. Black Light is a new Australian work about an Aboriginal family made up entirely of mothers across three generations. It explores the messiness of Blak motherhood, connection to Country, and connection to oneself.

I play the role of Bub, who a lot of young Aboriginal mothers will relate to. Bub is worried about the world ending while also trying to figure out their place in it at the same time.

What has it been like working with Jada Alberts? Working with Jada has been so great! I’ve always admired their work and looked up to them in the industry, so it’s been so lovely to share a room with them. Their courage and ambition with this piece is really inspiring. The form of the play isn’t traditional. Jada isn’t afraid to push the theatre mold, and that kind of boldness makes the room feel exciting and creative to be in.The play is centred on ideas of Blak motherhood – where did you draw from for inspiration in bringing your character to life? I am so incredibly blessed that I will be a mother this year. And while I am slightly scared of the complexity it will bring, I am so thrilled to be a part of this Blak motherhood legacy which, I think, is the backbone for a lot of Aboriginal families. This resilience is something that I draw on with the role of Bub. The character has had a lot of hardship in their life, but that resilience is inside them, because – like a lot of Aboriginal mothers – they don’t have a choice but to keep moving forward.

How did you work with the other cast members to develop the on-stage relationships the play revolves around? When I met Trisha Morton-Thomas, who plays my grandma, I was secretly fangirling inside. I am such a fan of her work. She has this cheekiness and charm and that makes it so easy to be drawn to her and be able to present an authentic connection on-stage as her grandchild. It has also been a privilege to work with Rachael and Lisa Maza as they both have such a huge legacy in Australian Blak theatre and have paved the way for the younger generation of actors such as myself.

I think the key to building an on-stage family is to have this connection off-stage. In this process, things like having a meal together, sharing stories or fighting over who's the best tennis player at the Australian Open has helped bring that connection and joy. It’s important to build that connection because you have to trust your castmates so much. You have to trust that every night they will have your back on stage and that you are all telling the story together.Why do you think now is more important than ever for audiences to see Black Light? This play explores the theme of the world ending (a world war looming in the air), which at first seems out of this world. But honestly, we only have to turn on the news to be reminded that the world is in a shaky place at the moment. This play is also about exploring the complexity of Blak motherhood, which is something I hope the audience will have a deeper understanding and empathy for when they leave the theatre.

What has working on Black Light taught you personally about being an artist, or even being a person? This work has reminded me of the legacy of people who have come before me and shaped who I am today and that I am truly never alone. As Nan says in the play, “Whistle up a wind, and we’ll be on it.”

What do you hope audiences take away from seeing the play? Blak theatre is daring. Blak mothers are resistant. Country knows more than you can ever imagine.

Nab tickets to see Black Light at Malthouse Theatre this-a-way.