Kids' Inner Lives Unveiled in Justice System Play

Playwright Hannah Belanszky spent a year immersed in the lives of young people in youth centers and juvenile detention facilities across New South Wales. Initially planning structured drama games, she quickly found that genuine connection came from simply spending time with them, discovering their fundamental wants and needs mirror those of any other young person.

This immersive research formed the basis of her play, 'Saplings,' commissioned by the Australian Theatre for Young People. The 80-minute production, which premiered in 2024 and won a Sydney Theatre award, uses a series of brief scenes to illustrate how young people encounter and navigate the legal system.

The play draws directly from the experiences of youth Belanszky and ATYP producer George Kemp met through workshops. These encounters occurred in various locations, including Miyay Birray Youth Services in Moree and the Reiby Youth Justice Centre. A significant number of the young people encountered were Indigenous, reflecting the overrepresentation of First Nations youth in the justice system.

Belanszky, a Yuwaalaraay playwright, and the production's director, Kalkadoon actor Abbie-lee Lewis, aimed to handle these sensitive stories with care, acknowledging the historical context of Indigenous relations with law enforcement. The play features vignettes like teen friends needing money, siblings awaiting their mother's release, and young individuals confronting the complexities of the children's court.

One narrative follows Lachy, a teen who breached his house arrest and ban from Woolworths to buy instant noodles, illustrating the desperation for basic needs. Another story highlights the logistical impossibilities of house arrest combined with protection orders. Belanszky often gathered the full context of these situations from adult support workers, while the young people themselves revealed their personalities and aspirations.

'Saplings' has resonated deeply, with boys from the Midjuburi youth center attending its opening night and finding it highly relatable. Cast member Danny Howard has since brought the play back into youth justice centers, facilitating workshops where young attendees have actively participated in performing scenes, a response Belanszky considers the ultimate validation of her work.