Meet the playwrights of Detention
Based on the novel by Tristan Bancks, Detention explores the refugee experience, centring on themes of displacement, belonging, and shared humanity.
We had the chance to chat with Callan Purcell and Kobra Sayyadi, the playwrights behind Detention, about what inspired the show, why stories like this matter to young audiences, and the highs and challenges of bringing such a powerful story to the stage.
What inspired you both to adapt Detention for the stage?
Callan: Stories of people seeking asylum have existed for generations — that’s nothing new. The problem is, these stories are often framed through familiar archetypes: the victim, the outsider, the other. This project gave us the chance to hold space for and give platform to the Hazara narrative, and to centre it in truth. Tristan’s book offered a rare opportunity to see a young Hazaragi girl in a position of power, fighting back against a system designed to erase her. It felt vital to bring that resilience, agency, and courage to the stage.
Why do you think it’s important to share this story with young people?
Kobra: In many respects, this story is long overdue. The experience of people seeking refuge and asylum in a new country is as old as time. Yet, for various socio-political reasons, these stories—particularly those of asylum seekers in Australia—have often been left out of the mainstream, including theatre. I think it’s time for this current generation of Australian storytellers to see themselves, their friends, neighbours, and classmates represented on stage. Like our heroes, they might find the courage to look past our apparent differences and recognise the little Dan and Sima within each of us.
Was there a scene or moment in the play that was especially challenging or meaningful to write?
Callan: Two moments come to mind. The first is structural — Randa keeps reminding us, “We don’t need to hear that dialogue… we already see it.” Learning to trust the silences, to strip scenes back to their bare-bones relationships, has been an ongoing challenge. The book carries so much rich inner life that condensing it into a single look, gesture, or phrase takes time.
The second is emotional — any scene where the young characters name their fear or anger at the system. Those moments are never easy to write, because they’re rooted in real experiences, and we carry the responsibility of doing them justice. It’s been a privilege to write alongside Kobra — to learn when to step in, when to step back, and to recognise which experiences are mine to contribute and which are not. We’ve found a unique rhythm together.
What has your experience been like working with Monkey Baa?
Kobra: Working with Monkey Baa has been a truly rewarding experience. It has helped me grow as an artist in all the right ways.
Their steady support—especially during times of uncertainty—has meant a lot to me as an emerging writer and theatre-maker. From backing me when I needed it most to collaborating with authenticity and integrity with the Hazara community and artists, the team has been generous, receptive, and committed to helping Callan and me bring this work to life in the best way possible.
