They stepped onto stages that weren’t built for them, spoke lines that had rarely been spoken by voices like theirs, and in doing so, quietly transformed Australian theatre forever.
From the Sydney Opera House to Melbourne’s Princess Theatre, these nine Black women didn’t just perform—they pioneered. Each “first” represented more than a personal achievement; it was a crack in the ceiling, a door wedged open, a new possibility imagined for the next generation.
For Black History Month, here are the Black women who made Australian theatre history.
1. Marcia Hines — The Global Pioneer (1973)
First Black actress in the world to play Mary Magdalene in Jesus Christ Superstar, performed in Australia
Before there was a conversation about representation in Australian theatre, there was Marcia Hines. In 1973, Hines made history not just in Australia but globally when she stepped into the role of Mary Magdalene in Jesus Christ Superstar.
At just 16 years old, the Boston-born singer had arrived in Australia with little more than her extraordinary voice. Cast in the iconic rock opera, Hines became the first Black actress in the world to portray Mary Magdalene in any production of the Andrew Lloyd Webber and Tim Rice masterpiece.
Her performance captivated Australian audiences and launched a career that would span decades, making Hines a household name and proving that Black artists could command leading roles in major theatrical productions.
2. Morag Hamilton — Defying Gravity (2013-2014)
First Black actress to perform as Elphaba (as a cover/understudy) in the Australian production of Wicked
Long before Cynthia Erivo brought Elphaba to the screen, Morag Hamilton was defying gravity on Australian stages. In 2013-2014, Hamilton made history as the first Black actress to perform the role of Elphaba—the green-skinned misunderstood witch—in the Australian production of Wicked.
As a cover and understudy, Hamilton demonstrated that the iconic role, with its demanding vocal requirements and emotional depth, could be magnificently inhabited by a Black performer. Her time in the role opened conversations about casting possibilities and challenged assumptions about who could embody certain characters.
3. Paula Arundell — Magic on Stage (2019)
First Black actress to play Hermione Granger in the Australian production of Harry Potter and the Cursed Child
When Paula Arundell stepped into the role of Hermione Granger in 2019, she did more than deliver lines from one of the most beloved franchises in the world—she reimagined what Hermione could look like.
The Australian production of Harry Potter and the Cursed Child cast Arundell as the adult Hermione, making her the first Black actress to portray the character in an Australian production. In a role originally conceived by J.K. Rowling without specified race, Arundell’s casting reflected a growing understanding that Hermione’s intelligence, courage, and complexity transcended any single physical representation.
For young Black audiences watching, seeing Hermione portrayed by a Black actress sent an unmistakable message: magic belongs to everyone.
4. Zahra Newman — Cat on a Hot Tin Roof (2019)
First Black actress to play Maggie “the Cat” in Cat on a Hot Tin Roof for a major Australian theatre company (Sydney Theatre Company)
Tennessee Williams’ Maggie the Cat is one of theatre’s most demanding female roles—a character of fierce intelligence, desperate longing, and unapologetic sensuality. In 2019, Zahra Newman claimed this iconic role for the Sydney Theatre Company, becoming the first Black actress to play Maggie for a major Australian theatre company.
Newman’s performance challenged the entrenched idea that classic American Southern roles belonged exclusively to white actresses. By inhabiting Maggie with her own truth, Newman demonstrated that great acting transcends racial categories—and that the canon expands when diverse artists are given access to its greatest roles.
5. Shewit Belay — Defying Gravity, Part II (2023)
First Black actress to play Nessarose in Wicked in Australia
When Shewit Belay took the stage as Nessarose—the Wicked Witch of the East, Elphaba’s wheelchair-using sister—she added another historic moment to Wicked‘s Australian legacy.
In 2023, Belay became the first Black actress to portray Nessarose in an Australian production of the blockbuster musical. Her performance brought depth and dimension to a character often overshadowed by the central conflict between Elphaba and Glinda, reminding audiences that every role carries weight and every character deserves authentic representation.
6. Gabriyel Thomas — Memory Maker (2024-2025)
First Black actress to play the lead role of Grizabella in the 40th Anniversary Australian Tour of Cats
“Memory,” the signature song from Andrew Lloyd Webber’s Cats, demands a performer of extraordinary emotional and vocal range. For the 40th Anniversary Australian Tour in 2024-2025, that performer was Gabriyel Thomas.
As the first Black actress to play the lead role of Grizabella in Australia, Thomas made the iconic song her own. The role—a once-glamorous cat now ostracized and yearning for acceptance—carries the emotional weight of the entire production. Thomas’s casting signaled that even in one of musical theatre’s most established productions, there remains room for fresh interpretation and expanded representation.
7. Sasha Hennequin — Dancing Queen (2026)
First Black actress to play Tanya in Mamma Mia! in Australia
ABBA’s music has provided the soundtrack for countless lives, and Mamma Mia! has brought that music to stages worldwide. In 2026, Sasha Hennequin made history as the first Black actress to play Tanya—the glamorous, man-hunting divorcee with a heart of gold—in an Australian production.
Tanya represents a particular archetype in musical theatre: the confident, sexually liberated older woman. Hennequin’s casting expands the imagination of who can embody such roles, proving that confidence and glamour have no racial boundaries.
8. Effie Nkrumah — The King of Pop’s Legacy (2025)
First Ghanaian-Australian resident director for the Australian premiere of MJ The Musical (2025)
Effie Nkrumah’s historic achievement represents a different but equally important dimension of representation: leadership behind the scenes. As the first Ghanaian-Australian resident director for the Australian premiere of MJ The Musical in 2025, Nkrumah shaped how Michael Jackson’s complex legacy was translated for Australian audiences.
The resident director role is crucial to any production’s success, responsible for maintaining artistic integrity and guiding performances. Nkrumah’s position at the creative helm demonstrates that diversity must extend beyond the stage to the directors, choreographers, and creative teams who determine what stories are told and how they are told.
9. The Seed Network — Cultivating the Next Generation
Behind these individual achievements lies a collective force: The Seed Network. This organization has documented and celebrated these historic moments, ensuring that the contributions of Black women to Australian theatre are not forgotten.
“Meet the Black women who made Australian theatre history,” reads the Instagram post that inspired this listicle—a simple statement carrying profound weight.
By naming, honoring, and preserving these achievements, The Seed Network ensures that emerging artists can see themselves in the legacy of those who came before.
The Legacy Continues
Each of these women stepped onto stages that had not anticipated them. Each faced the pressure of being “first”—the scrutiny, the heightened expectations, the knowledge that their performance might influence casting decisions for years to come.
Yet they performed. They delivered. They made history.
Their collective legacy extends far beyond individual productions or personal accolades. When a young Black girl watches Wicked and sees Shewit Belay as Nessarose, or attends Mamma Mia! and watches Sasha Hennequin command the stage as Tanya, she receives an unspoken message: that stage could be hers. Those lights could shine on her.
That is the power of representation. That is the gift these nine women have given to Australian theatre and to the generations who will follow.
The curtain never truly falls on history.
