Beyond the Tracks is a vibrant and deeply moving autobiographical work that fuses dance, movement, song and audiovisual storytelling. At its centre is Kamilaroi/Mandandanji man Michael Leslie — a dancer, choreographer and cultural force whose life story is as expansive as his artistic legacy. Over 45 fast-paced minutes, what unfolds is not simply a performance, but a lived history, rendered with generosity, humour and unflinching truth.
Visually layered, carried by warmth
The show opens with Leslie entering the stage, closely followed by Ursula Yovich, whose presence immediately grounds the work in warmth and familiarity. Yovich narrates and sings throughout, her voice carrying the audience across decades and landscapes. Ursula Yovich’s credits include rock musical Barbara and the Camp Dogs, the 2019 film Top End Wedding and 2025 series Top End Bub. She doesn’t merely accompany Leslie; she converses with him, teasing out memories and creating a dynamic interplay that feels both intimate and relatable. Their rapport sets the tone for a production that is as much about relationships — to family and community — as it is about individual achievement.
Visually, the work is deceptively simple yet richly layered. Mason Browne’s set design features a corrugated iron sheet and a blank wall that becomes a living archive. Projected images of family, community and pivotal historical moments ripple across the wall, situating Leslie’s personal journey within the broader story of Aboriginal resilience and creativity. A single chair anchors the space, while a tightly assembled band with musical collaborators Calvin Welch and percussionist Robbie Alexander drive the show’s pulse. Their sound is energetic, percussive and occasionally rock-star-ish, underscoring the momentum of Leslie’s life.
Powerful reminders
Raised in Moree, Leslie describes himself as a mission kid who was brought up on the wrong side of the tracks. At nine, he witnessed the arrival of the 1965 Freedom Riders, a group of university students protesting the discrimination of Aboriginal people. Soon after, a chance appearance in a television commercial changed his life’s trajectory. Beyond the Tracks recounts these early experiences with clarity and irony, particularly when Leslie reflects on Moree as a “racist town” and notes that “Laws may change, but attitudes don’t”. These lines land with weight, reminding the audience that progress is often painfully slow.
Despite the heaviness of some themes, Leslie’s performance radiates joy. Now nearing 70, he moves with the agility, precision and playfulness of someone half his age. He glides, spins and frolics across the stage, embodying the sheer pleasure of movement. Watching him dance feels like witnessing a lifetime distilled into motion.
A titan of the arts
The show also celebrates Leslie’s remarkable contributions to the performing arts. Over more than 40 years, he has significantly influenced the development of Indigenous performance in Australia. He was one of the founding members (as a student) of performing arts organisation NAISDA when it was established in 1976. In the 1980s, he received a Churchill Fellowship to study and train at the Alvin Ailey American Dance Centre in New York. Upon his return, he was the original choreographer for the musical Bran Nue Dae. He also helped establish the Black Swan Theatre Company in Western Australia and the Aboriginal Centre for Performing Arts (ACPA), co-founded the Broome-based dance theatre company Marrugeku, and founded the Michael Leslie Foundation for the Arts. His impact on arts policy, training pathways, and cultural representation is profound.
Beyond the Tracks sits comfortably alongside landmark autobiographical works such as Leah Purcell’s Box the Pony, David Page’s Page 8 and Noel Tovey’s Little Black Bastard. As this year’s NAIDOC Week celebrates “50 Years of Deadly”, this show reminds us that today’s artists stand on the shoulders of giants — and Leslie is undeniably one of the deadliest.
Beyond the Tracks is showing at Melbourne’s Carriageworks until July 11.
