THE BUNYIP OF BERKELEY’S CREEK was based on the children’s book of the same name by Jenny Wagner, illustrated by Ron Brooks²

THE BUNYIP OF BERKELEY'S CREEK was Handspan’s first non-commissioned work. It followed the success of The Mouth Show with primary school audiences but was created to play to general public audiences at local and community events – indoors and outdoors – as well.

The book appealed to Handspan for its interpretation of the theme of self-discovery. It was a relevant concept for Handspan’s young audiences, but less determinedly message-laden than The Mouth Show, still in the company repertoire at the time. The story’s Australian setting and iconic animal characters also offered interesting opportunities for interpretation and staging that mixed puppetry, actors and masks in a flexible and accessible play.

THE BUNYIP OF BERKELEY'S CREEK narrative followed Jenny Wagner’s storyline closely. The Bunyip appeared from his muddy creek, asking “who am I?” of all the passers-by. Raucously laughing at him, the Kookaburra pointed out that he had feathers; the Platypus identified his fur; the Emu and Kangaroo squabbled over his tail and running ability; and the doctor wouldn’t listen. Fortunately for the increasingly woebegone Bunyip he met another of his kind and a happily-ever-after conclusion ensued.

The design for the staging, puppets and costumes reflected Ron Brooks’ illustrations for the book but didn't attempt to be a replica of their detailed, ever-changing and dark style. In Handspan’s play, three brightly painted screens depicting a waterhole in a stylised Australian landscape could be set up anywhere. Puppet manipulators were visible and actors wore masks and simple costumes and they performed in front of and around the screens and amongst the audience.

One of Handspan’s most popular shows, THE BUNYIP… was performed over 500 times.

THE BUNYIP … toured for three years across Australia and the world adapting to performance locations and touring circumstances of all kinds.

The production was originally created for three performers and revised to be a two-hander in 1980. A second version of the play was built at that time making it possible for the work to be carried in a backpack to the USA, Europe and UK by Ken Evans and Helen Rickards, travelling to the XIII UNIMA³ Congress & 1980 World Festival in Washington DC - Handspan's first international appearance; and at the same time, to tour in Australia, through the outback for the Northern Territory Arts Council performed by Peter J.Wilson and Andrew Hansen.

Stories of life on the road with Handspan’s BUNYIP… are legion.

The two hander production itself came to an abrupt end when the puppets and props backpack was stolen from the Handspan studio soon after its return from overseas. There it had survived abandonment on British bus lines, motor bike transport through the wet English Lake District and curiosity at an Amsterdam police station - the snatch from Handspan’s home was quite shocking:

That was the only time in Handspan’s long open-door studio incumbency that anything was ever stolen.

THE BUNYIP … was performed in school and community venues and sometimes in theatres. It replaced Hansel and Gretel - Out of the Booth as a stimulus performance for community arts engagement. Both in schools, and for family and community audiences the play was often followed by Handspan artist workshops or local residencies in puppet making and performance.

In theatrical settings, the play was the feature work of Handspan’s only self-promoted touring ventures. The work shared the Superfun Show bill with magician, Doug Tremlett, in at Camberwell Library Theatre (1980), and toured summer holiday locations on Mornington Peninsula in Victoria: Bunyip on the Peninsula (1981) and with Kooka Puppet Company, Seaside Double Header (1982).