For seasoned actress Lisa McCune, there’s always a particular line in every play or musical she performs that resonates with her, etching itself in her memory.
Currently starring in the compelling production of Sweat at the Sydney Theatre Company, the powerful concluding line, “That’s how it oughta be,” profoundly impacts her experience.
“It just makes me want to bawl my eyes out,” she confides passionately. “It encapsulates the play. It encapsulates life. It’s beautiful.”
Directed by the talented Zindzi Okenyo, McCune extols how Okenyo expertly highlights the rhythm and music woven into Nottage’s poignant narrative. (Supplied: STC/Prudence Upton)
McCune’s character, Tracey, is particularly strong-minded about how things “oughta be,” having firmly rooted beliefs about job accessibility and meritocracy.
Having secured her own factory role through family connections—her father’s employment there—Tracey now sees her son, Jason, following in her footsteps.
When her African American friend Cynthia, portrayed by Paula Arundell, ascends to a management position, Tracey struggles with her feelings of resentment, believing Cynthia’s promotion stems from affirmative action rather than merit.
Tracey believes Cynthia should align with the factory workers embroiled in a contentious pay dispute, and as tensions rise with the introduction of migrant workers replacing unionized labor, Tracey’s opinion that scabs should face consequences becomes clear.
Tracey’s perceptions of how things ought to be erupt vividly within Sweat, the acclaimed play that garnered American playwright Lynn Nottage her second Pulitzer Prize in 2017.
Speaking on ABC RN’s The Stage Show, Nottage reflected on Sweat, stating: “When people are facing economic stress, they look for people to blame and the low-hanging fruit in America tend to be people of colour.” (Supplied: Ensemble/Lynn Savarese)
“She’s a character who almost thought things might never change,” remarks McCune. “But then the change started happening around her, and maybe she didn’t want to evolve with it or change with it.”
“So much of her journey is operating from fear, but I think there’s an intense love there too. We’ve talked a lot about love: people fight for what they love.”
De-industrialisation and Trump
Upon Sweat’s debut Off-Broadway in 2016, the Wall Street Journal famously labeled it the “play that explains Trump’s win,” highlighting its socio-political relevance.
The depth of research embedded within Sweat—particularly illuminating the fervor and frustrations of its factory workers, including Tracey, Cynthia, and their sons, James and Chris—makes its narrative resonate profoundly.
In light of Trump’s recent second election victory, the play’s themes strike a particularly poignant chord with contemporary audiences.
As in 2016, Trump’s rhetoric seems to rally working-class voters, as he proclaimed during his victory speech that his administration would usher in a “golden age of America.”
“That’s what the people in this play are holding onto: the American dream. They believe in it,” McCune observes, capturing the essence of Sweat’s exploration of hope and aspiration.
The production offers audiences a chance to delve deeper into understanding the factors that contributed to today’s socio-economic climate in the United States.
Reflecting on the narrative, McCune states, “We can look back and see how we got to where we are today.”
“Because the play is accurate on a lot of levels: about the mills shutting down and how things have changed; how businesses were starting to shut down to service the stock market … But at what cost? It’s about the human cost.”
To prepare for Sweat, the cast engaged with workers at the Port Kembla steelworks in southern Sydney, gathering invaluable firsthand experiences. (Supplied: STC/Prudence Upton)
“Economic [trouble] can fracture families and destroy friendships … But there’s more to [the play] than politics; the play is about the humans in it.”
Set primarily in the year 2000, Sweat also weaves in narratives from 2008, a period following the global financial crisis, which many Australians can relate to in today’s economic climate.
“The economy and inflation are really scary for a lot of people at the moment,” McCune reflects. “That heat is what this play is about. It’s the sweat, it’s about the Rust Belt, it’s about the workers and their heritage.”
From musicals to Sweat
Initially aspiring to become a marine biologist or an astronaut, McCune’s path ultimately led her to acting. “I just wanted to be everything as a kid,” she recalls, illuminating her youthful curiosity.
Yet, a transformative experience watching Les Misérables ignited a passion for musical theatre that has been a cornerstone of her career, leading to acclaimed roles in both The Sound of Music and South Pacific.
In South Pacific, McCune portrayed navy nurse Nellie Forbush, who shares traits with Tracey in Sweat, showcasing the complexities of prejudice within her character. (Supplied: Opera Australia/Jeff Busby)
“I came to acting because I loved the power of music,” she asserts, indicating how music serves as a vital connection to her artistic expression.
After graduating from the prestigious Western Australian Academy of Performing Arts (WAAPA) with a degree in music theatre, McCune quickly made her mark.
By the age of 22, she had secured the iconic role of Constable Maggie Doyle in the long-running hit series Blue Heelers, a role that won her four Gold Logies over seven successful seasons.
Despite her notable television success, including roles in Sea Patrol and How to Stay Married, McCune finds herself continually drawn back to the theatre, her true passion.
Her most recent project saw her take center stage in the Bob Dylan jukebox musical Girl from the North Country, which toured extensively across Australia. Set against the backdrop of the Great Depression in Minnesota, the story follows a man navigating the challenges of managing a struggling guesthouse while caring for his wife Elizabeth, portrayed by McCune, who battles dementia.
“I love a musical. I’d happily step back and do any musical,” McCune expresses, revealing her enduring affinity for the genre. (Pictured McCune and Peter Kowitz in Girl from the North Country.) (Supplied: GWB/Daniel Boud)
“I’m glad that I did that play before I did this play, because there’s echoes of hardship in each of them,” she shares. “I feel like that was maybe a good warm-up for Sweat.”
Sharing people’s stories
While her love of musical theatre remains steadfast, McCune reflects that her ambitions have evolved over the years. Unlike Tracey, she finds herself genuinely content for others when they land roles over her, showcasing a shift in perspective.
“There’s definitely less work as you get older, although there’s amazing women and actors pushing through that,” she observes, acknowledging the growing challenges within the industry.
“[But] I’m not as overtly ambitious as I was when I was young … I’m in my 50s now, so there’s just more in my life going on,” she admits, illustrating a mature acceptance of her career trajectory.
Now, McCune’s ambitions lie primarily behind the camera, as she commits to bringing the diverse stories of others to life. Recently, she established a production company with director Fiona Banks, aptly named Broadstory.
“I love people. I love hearing people’s stories,” she expresses, emphasizing her deep interest in the lives and experiences of others.
“I find humans and the way people carry out their lives [so fascinating]. I find it really interesting the way people are affected by choice and how that can change the direction of a life.”
McCune dutifully dispels rumors suggesting Broadstory may produce a Blue Heelers reboot, clarifying, “We’re looking at new stuff.” (Pictured: McCune with Martin Sacks in Blue Heelers.) (Supplied: Seven Network)
The Broadstory team has expanded to include screenwriter Greg Haddrick, who is currently developing an intriguing project centered around the groundbreaking invention of Wi-Fi—an innovation that transformed global connectivity, largely pioneered by researchers at Australia’s CSIRO in the late 1980s.
“We’re being pretty selective about what we do, but God, I love it,” McCune shares, infusing her enthusiasm for this new venture.
“You meet so many great people, and you want to bring them in … I love stepping into a story room and working with writers and trawling through old stories,” she elaborates, highlighting her passion for collaborative storytelling.
Inspired by the energy and talent of her young co-stars in Sweat, including Gabriel Alvarado, James Fraser, and Tinashe Mangwana, McCune is eager to foster opportunities for the next generation of emerging talent.
“Maybe that’s why I’m doing Broadstory as well because I’m excited about what I see around me,” she muses, reflecting on her commitment to nurturing the future of the arts.
Sweat is currently being performed at Sydney Theatre Company and will run until December 22.
F and concentrating on stories that reflect our times.”
Her focus on storytelling aligns with her current work in Sweat, which illustrates the real struggles and dreams of working-class individuals. ”It’s crucial to highlight these narratives that often go unheard,” she adds, reaffirming her commitment to amplifying diverse voices through her production company.
As McCune continues to navigate her dual roles as an actress and producer, she remains passionate about merging the worlds of theatre and cinema. “Both play a vital role in shaping cultural conversations, and I hope to contribute meaningfully to that dialogue,” she concludes, reflecting on her aspirations for the future.
