I’m Still Here is a First Nations–led theatrical production proposed to premiere at the Sydney Opera House in late 2027.
Grounded in lived experience, cultural authority, and ethical storytelling, I’m Still Here centres the remarkable life story of Lani McLachlan, a Wailwan and Wiradjuri woman with disability and a member of the Stolen Generations who was from her family as a child, Lani was raised by a wealthy non-Indigenous family and educated at a private school. From the outside, her life appeared privileged. She had a home, excelled at horse-riding, and became a sailing champion. But Lani’s life soon unravelled through the brutality of her adoptive mother, despite the love of her adoptive father. As a teen, she became caught in cycles of addiction, sex work, and domestic violence, followed by decades of homelessness. For over thirty years, she navigated life on the margins of society. Yet throughout this time, she continued searching for her identity, her family, and her place in the world.
Through theatre, music, and movement, the production invites audiences to listen deeply and reflect on whose stories are heard, whose lives are valued, and how social systems shape human outcomes. By illuminating the structural barriers that contribute to homelessness, disability exclusion, and gendered violence, I’m Still Here seeks to challenge perceptions, promote empathy, and inspire meaningful social change, while ensuring Aboriginal voices remain at the centre of the narrative.
“I'm Still Here means so much to me because it tells the truth about what people like me go through. I want people to see us, to understand, and to care. I support this project because it shows that we are here, we matter, and we are not invisible. It’s not just my story—it’s the story of so many women who have been ignored, judged, or left behind."
If our mission resonates with you, there are ways to support I'm Still Here and help us to bring Lani’s story from the page to the stage. You can simply press the donate button below where you will receive a tax deductible receipt for your support. Every gesture of generosity, big or small, helps us realise Lani’s dream.
Beyond making a tax-deductible donation, you can support I’m Still Here by participating directly in the creation of the set. We invite you to purchase a traditional weaving kit. Once completed, each woven piece can be returned and incorporated into the final stage design, becoming part of a powerful visual tapestry that reflects collective care and shared storytelling.
Buy One NowBy partnering with MUTTI, your organisation is not simply supporting a play – it is investing in a cultural work that improves social cohesion, deepens understanding, and brings communities together through shared storytelling. There are five tiered opportunities to support I'm Still Here. Please click the link below to view our Partnership Prospectus.
Partnership ProspectusBelinda Mason OAM and Dieter Knierim collaborated with Lani McLachlan for over five years to transform her deeply personal interviews into a powerful book, Lani’s Story. Lani shaped, reviewed, and confirmed the accuracy of her story, sharing only what Lani wanted to share and the feelings she wanted to express. The book is about truth-telling and integrity and will be available for sale in late 2026 on the MUTTI website. From Lani’s Story, the play I’m Still Here is being developed, with its first reading/preview at the Utzon Room of the Sydney Opera House on 6 March 2026. The feedback from audiences strengthens the development process, making it ready for its 2027 premiere.
BEHIND THE SCENES
This behind-the-scenes video captures the heart of the creative development of I’m Still Here, a First Nations-led musical theatre production.
The video offers an intimate glimpse into rehearsals, music sessions, script development and creative dialogue – revealing a team united by respect, cultural care and a shared commitment to telling this story with integrity. I’m Still Here is not only a theatre production. It is an act of testimony, collaboration and collective healing.
PREVIEW 6th MARCH 2026
On 6 March 2026, in conjunction with International Women’s Day MUTTI held the preview of I’m Still Here at the Utzon Room of the Sydney Opera House followed by a panel discussion with the creatives. It was a deeply moving evening that brought Lani McLachlan’s story to life through theatre, music and conversation.
Thank you to everyone who joined us and filled the room with such generosity, care and thoughtful engagement. Your presence, reflections and support reminded us why this work matters.
Gayle Kennedy is a proud member of the Wongaibon Clan of the Ngiyaampaa-speaking nation of South West NSW. An award-...
Gayle Kennedy is a proud member of the Wongaibon Clan of the Ngiyaampaa-speaking nation of South West NSW. An award-winning writer, storyteller, and disability advocate, she has built a career spanning more than three decades across literature, theatre, film, radio, and education.
Her work is distinguished by its humour, humanity, and fearless truth-telling, qualities that make her voice both deeply personal and profoundly political. Winner of the David Unaipon Award for her landmark novel Me, Antman & Fleabag (now part of the UQP First Nations Classics series), Gayle’s writing has become a cornerstone of contemporary Aboriginal literature. Her eleven children’s books in the Yarning Strong series are used in schools nationwide to teach cultural pride, resilience, and identity. Her voice, both literary and literal, has reached global audiences through projects such as Unfinished Business, presented at the United Nations in Geneva and New York, where she narrated the audiobook illuminating the lives of Aboriginal people with disabilities. Gayles’s writing captures the humour, hardship, and endurance of First Nations life, challenging stereotypes while celebrating survival. Her stage and screen works include commissions for Urban Theatre Projects, Outback Theatre for Young People, and collaborations with Boomalli Aboriginal Artists Co-operative and Red Room Company. Her short film The Dress toured with Flickerfest, and she continues to mentor emerging First Nations writers and artists across Australia. As playwright for I’m Still Here, Gayle brings her mastery of narrative and character to the story of Lani McLachlan, a Wailwan and Wiradjuri woman who survived three decades of homelessness. Through this work, Gayle fuses art and activism to interrogate how race, disability, and poverty intersect within Australia’s social systems.
Co-Producer Lani McLachlan is a Wailwan and Wiradjuri woman whose life and creative insight are at the heart of I’m Still Here...
Co-Producer Lani McLachlan is a Wailwan and Wiradjuri woman whose life and creative insight are at the heart of I’m Still Here. A survivor of over thirty years of homelessness, shaped by disability, intergenerational trauma, and systemic discrimination, Lani has transformed her lived experience into a powerful act of storytelling and cultural leadership.
As Co-Producer and protagonist, she collaborates with the Museum of Understanding Through Tolerance and Inclusion (MUTTI) to ensure that the play speaks with authenticity and integrity. Her perspective grounds the production in truth, revealing the complex intersections of gender, class, and race that underpin housing insecurity in Australia. Lani’s courage and candour have inspired national dialogue through MUTTI’s UNSEEN Women initiative, which amplifies the voices of women experiencing homelessness. Her creative partnership with MUTTI for I’m Still Here continues this mission, turning personal testimony into public consciousness.
Elizabeth Wymarra is a Gudang/Yadhaykenu and Wakaid woman from Cape York and the Torres Straits. She is an accomplished...
Elizabeth Wymarra is a Gudang/Yadhaykenu and Wakaid woman from Cape York and the Torres Straits. She is an accomplished First Nations performer whose work spans theatre, television, radio, film and community-based storytelling.
She is recognised for her versatility as a film maker, actor, writer and published author moving with ease between dramatic roles and comedy, and for her strong commitment to First Nations led and socially engaged practice. Elizabeth has appeared in a range of Australian television productions, including comedy, where her sharp timing and warmth have contributed to stories that challenge stereotypes while creating space for humour, connection, and truth-telling. Her screen work complements a substantial theatre career with leading Aboriginal and mainstream companies, including the Performing Arts, Belvoir, and other major cultural institutions. Her practice is grounded in collaboration, cultural integrity, and lived experience, with a focus on amplifying the voices of Aboriginal and Torres Strait Islander women through performance. Elizabeth’s work is noted for its emotional depth, generosity, and capacity to balance humour and gravity in complex narratives. Elizabeth’s involvement in I am Still Here reflects her ongoing commitment to First Nation women-led storytelling and to projects that centre dignity, resilience, and belonging through both laughter and truth.
Uncle Kutcha Edwards is a Mutti Mutti man, respected Aboriginal Elder, singer-songwriter, and cultural leader whose artistic...
Uncle Kutcha Edwards is a Mutti Mutti man, respected Aboriginal Elder, singer-songwriter, and cultural leader whose artistic practice spans music, storytelling, and advocacy. A member of the Stolen Generations, Kutcha has dedicated more than three decades to truth-telling through song, drawing on lived experience to explore themes of survival, justice, love, and connection to Country.
His acclaimed musical works include Circling Time, created in collaboration with Archie Roach, Black Arm Band, Blak and Blu, and Grounded, albums that have been recognised for their emotional depth and contribution to Aboriginal cultural expression. Uncle Kutcha has performed extensively across Australia and internationally, collaborating with leading artists, orchestras, and cultural institutions, and has received multiple Deadly Awards recognising his contributions to music and community. His work is widely respected for its role in healing, reconciliation, and cultural education. Uncle Kutcha’s practice extends beyond performance into mentoring, public speaking, and community leadership. He has worked across schools, festivals, correctional settings, and cultural programs, using music as a bridge for understanding and connection. In I am Still Here, Uncle Kutcha contributes as a cultural and musical collaborator, supporting the work through song, story, and presence. His involvement brings cultural authority, emotional depth, and intergenerational continuity, strengthening the production’s commitment to First Nations-led storytelling grounded in lived experience, dignity, and truth.
Dyagula (Wiradjuri | Gamilaraay | Ngunawal | Walgalu) is a powerful Songwoman, multi-genre vocalist, composer,...
Dyagula (Wiradjuri | Gamilaraay | Ngunawal | Walgalu) is a powerful Songwoman, multi-genre vocalist, composer, producer and sonic architect redefining Australian music through language, story and spirit, based on Gadigal land.
A 2023 NATSIMO Screen Composer Intensive recipient and chosen participant of two APRA SONGHUBS, Dyagula’s voice and compositions span contemporary, classical, and traditional forms. Dyagula was in the first ever contemporary performance on NITV and returned as the very first female Music Director, co-directing its 10-year anniversary concert. She has also contributed to works for Sydney Opera House, Apple iPhone 14/NSW Art Gallery, ABC Kids (Marringa Lullaby) and the FIFA Women’s World Cup broadcast to over 8 billion viewers worldwide. Dyagula has performed backing vocals for many Artists namely and extensively for the late and great Archie Roach (4 years) and Christine Anu (12+ years) and these heavyweights are joined by an impressive list of other Artists including Thelma Houston, Shoshana Bean, Dan Sultan, Electric Fields, Budjerah, Emma Donovan and The Putbacks, JK47, Tasman Keith, Dr Shellie Morris, Troy Casser-Daley, Emily Wurramara, Stan Walker, Kee’ahn, PHILLY, Not Drowning Waving, Warren H Williams, Joe Geia, Dr Lou Bennett, Jessie Lloyd, Mau Power, Cindy Drummond, Maanyung, Jimblah, Merindi Briscoe, Jack Jones, Steve Balbi, The Hands, Timomatic, David Campbell (5 years), Casey Donovan, Paulini, Kate DeAraugo and Shane Howard and has performed on Triple J Like A Version 4 times for First Nation Artists Jimblah (2020), Emily Wurramara (2024), Maanyung (2024) and Tasman Keith (2025). From Lead Songwoman at Dhuluny Corroboree 2024 to her Wiradjuri-language rendition of Bob Dylan’s “To Make You Feel My Love” on ABC’s The Piano that went viral to over a million global viewers or bringing First Nations language for the very first time to Melbourne Fashion Week 2025, Dyagula continues to affirm her place as a leading voice in First Nations language revival. An accomplished performer in musical theatre (The Sapphires, FAME, HAIR, Priscilla Queen of the Desert, The Lucky Country), Dyagula was the very first Aboriginal person to play a POC lead role in Australian musical theatre. She is also one-third of critically acclaimed First Nations electro-soul trio Bow and Arrow, founder of Women’s Possum Drum Collective Burrbirra, and was a proud member of Black Arm Band touring shows Murundak, Dirt Song and Ngunwarra Means Heart with the Melbourne Symphony Orchestra. Through her work, Dyagula continues to shape a powerful cultural and sonic legacy—merging ancient resonance with modern expression, and carrying the spirit of her Ancestors into new soundscapes for generations to come. For I’m Still Here, Dyagula contributes a culturally informed musical voice that shapes the emotional architecture of the work, honouring resilience, survival, and presence through sound for generations to come.
Costume Designer Peta Link is a proud First Nations woman, a descendant of the Gooreng Gooreng Nation of Queensland...
Paityn Klaare is an emerging First Nations choreographer and dancer from Orange, New South Wales, and a proud Ngiyampaa and...
Paityn Klaare is an emerging First Nations choreographer and dancer from Orange, New South Wales, and a proud Ngiyampaa and Wiradjuri woman. She began dancing at the age of seven and has continued to develop her skills through commercial dance training at Brent Street, alongside a lifelong connection to culture and community. Paityn has performed with Buuja Buuja Butterflies at Yabun and previously with Walanmarra Malungan in Orange, grounding her practice in strong cultural foundations.
Drawing strength from her heritage, Paityn’s work explores identity, resilience and intergenerational stories carried through the body. Her choreography blends contemporary movement with grounded cultural expression, creating work that is emotionally powerful and visually striking. She has developed her practice through community performance, youth arts initiatives and collaborative projects, earning a reputation for discipline, sensitivity and a strong stage presence. Paityn leads and teaches contemporary cultural dance and supports cultural activities in community and educational settings. She is deeply passionate about creating opportunities for young First Nations artists and believes in dance as a form of storytelling, healing and connection to Country.
Gbenga Yusuf was born in Nigeria and is a multidisciplinary creative director, producer, and writer whose work bridges...
Gbenga Yusuf was born in Nigeria and is a multidisciplinary creative director, producer, and writer whose work bridges Africa, Australia, and the United Kingdom through art, culture, and social impact.
Over more than sixteen years, he has become a dynamic voice in contemporary African theatre and cross-cultural storytelling, using performance as both a mirror and a catalyst for change. Currently, the Creative Director of the Museum of Understanding Through Tolerance and Inclusion (MUTTI) UNSEEN Arts Hub, and the African Lead for Arts & Homelessness International (UK), Gbenga curates and produces initiatives that amplify marginalised voices across global platforms. As Founder of Seeing Through the Arts, Gbenga leads a creative organisation dedicated to raising awareness of urgent social issues through the performing arts. His productions confront complex topics, from gender inequality to displacement, with courage and compassion, positioning art as a vehicle for dialogue, empathy, and transformation. His recent productions include Oktober the Musical (2024), Sounds of a Nation (2025), and Flower (2023), the latter being a powerful exploration of female genital mutilation and forced marriage. Gbenga also co-produced Netflix’s documentary We Speak Dance, and his stage works have appeared on the London West End, toured the United States, and been profiled in leading British publications. Beyond the stage, Gbenga has featured on numerous television and reality programs across Africa, mentoring emerging artists and advocating for mental-health awareness and gender equity. His practice embodies the spirit of art that dares to unsettle, provoke, and heal, using movement, story, and music to illuminate our shared humanity.
Belinda Mason Knierim OAM is an internationally recognised artist, author, and social documentarian whose work illuminates...
Belinda Mason Knierim OAM is an internationally recognised artist, author, and social documentarian whose work illuminates the lives of those rendered invisible by social, cultural, and political systems.
Through her practice, Belinda provokes dialogue on human rights, identity, and belonging, creating immersive spaces where personal testimony catalyses collective understanding and change. As Founder and Creative Director of the Museum of Understanding Through Tolerance and Inclusion (MUTTI), Belinda has led acclaimed multidisciplinary projects including UNSEEN Women, Unfinished Business, and Silent Tears. Her collaborative process foregrounds lived experience, co-creating works with people who have experienced homelessness, disability, violence, and systemic marginalisation. These projects have been exhibited at the United Nations Commission on the Status of Women in New York, NSW Parliament House, and major Australian cultural institutions. Awarded the Medal of the Order of Australia for service to social justice through the arts, Belinda’s career spans over three decades across photography, film, and large-scale participatory installations. Her work is held in cultural institutions at home and abroad. Belinda has been recognised with awards from the Australian Human Rights Commission, the Moran Prize, and the Olive Cotton Award, and has presented at national and international conferences on social justice, health, and the arts.
Cultural Context and Significance:
This project explores the intersection of disability and homelessness within Aboriginal and Torres Strait Islander communities as Aboriginal and Torres Strait Islander people are 8.8 times more likely to experience homelessness than non-Indigenous Australians and are 1.5 times more likely to have a disability than non-Indigenous Australians. I’m Still Here, deeply respects and integrates Aboriginal and Torres Strait Islander perspectives, ensuring that their voices drive the narrative.
Community Involvement and Leadership:
Led by Aboriginal and Torres Strait Islander creatives and supported by local community organisations, this project delivers economic empowerment by providing opportunities for Aboriginal and Torres Strait Islander artists to fully participate in the economy while addressing historical injustices. The production also strengthens cultural identity and community cohesion, ensuring Aboriginal and Torres Strait Islander traditions remain central to the Australian arts sector.
Specific Cultural Benefits:
By sharing Lani’s story, the production creates a safe space to raise awareness about homelessness, disability, and systemic barriers and promotes local organisations that provide domestic homelessness services for Aboriginal and Torres Strait Islander people with disabilities. This project also has a profound impact on Lani’s personal well-being. By sharing her story, she gains agency, recognition, and validation, transforming trauma into a source of empowerment. The act of being heard fosters healing, self-worth, and social connection, reinforcing the importance of lived experience in shaping change.
Long-Term Cultural Impacts:
By challenging Social Stigmas I’m Still Here helps shift perceptions about homelessness and disability and improves long-term social cohesion. Our project earns Cultural respect through our approach of being guided by Elders, led by knowledge holders and inclusive of First Nations artists. This ensures integrity and cultural responsibility is prioritised.
Service providers:
Essential to the integrity of the project is support from key organisations in the disability, homelessness, domestic violence and First Nations sectors. MUTTI is collaborating with Wayside Chapel, Accessible Arts, Breaking Silent Codes, and DVNSW.
If this project does not proceed, an essential opportunity to humanise homelessness and spark meaningful change will be lost. Lani’s voice evidences the need to support the advocacy of service providers and the need for greater public awareness and systemic reform.
Artists:
We will invite Arts organisations such as the Women of Woolloomooloo Choir, the Sydney Street Choir, and Koori Radio to bring their voices to the project, alongside actors, musicians, and technical experts from various cultural backgrounds. We will also partner with UTS Shopfront, Ripple, a disability and culturally diverse internship program, to provide opportunities for emerging talent and ensure broad community engagement. The creative and economic contributions of this production support diverse talent and cultural enrichment. Supporting this project is an investment in advocacy, inclusion, and cultural storytelling. Artists, musicians, and creatives are from diverse backgrounds, fostering inclusivity within the performing arts. The production crew members are also diverse, identifying as First Nations, CALD, LGBTQIA+, Older, Gender diverse and/or having disability.
Audiences:
By centring an authentic, lived experience, the production amplifies marginalised voices, ensuring Aboriginal and disabled communities are heard. It engages diverse artists and community members, encouraging inclusivity in Sydney’s arts sector. Through impactful storytelling and original music, I’m Still Here serves to influence public discourse on accessibility, economic instability, and mental health. Each performance will include post-show discussions with audiences, cast, and community leaders to explore solutions, challenge stigmas, and drive meaningful change. By engaging diverse voices both on and off stage, this production will not only entertain but also serve as a catalyst for awareness, advocacy, and community action.
