From the brilliant playwright behind RBG: Of Many, One and Prima Facie, playwright Suzie Miller’s latest work, Strong is the New Pretty, presented by Sydney Theatre Company, explores the formation of the women’s Australian Football League (AFLW).
The performance opens with audio of a young girl attempting to join a game of football. Her cries of “kick it to me” become increasingly despondent as she is ignored by the boys around her. Her soft, sad cries of “please” are genuinely heartbreaking. The scene is set.
We are introduced to our three main protagonists: Alison Newton (Lucy Bell), a lawyer who becomes the first woman appointed to the AFL Commission, Jane Hooper (Tara Morice), a lifelong AFL fan who becomes the AFL’s first female development manager; and Bev Heath (Amber McMahon), a federal police officer who goes on to coach the Adelaide Crows.
Each of these characters is based on a real person. Newton is inspired by Sam Mostyn, who was instrumental in the formation of the AFLW; Hooper is based on Jan Cooper, affectionately referred to as the ‘godmother of the AFLW’; and Heath is based on coach Bec Goddard, whose team would go on to win the first AFLW Grand Final.
Directed by Sarah Giles, the play is divided into five chapters, starting with “The Dream” and ending with the 2017 Grand Final. It is difficult to believe that it was only in 2017 that the AFLW had their first official season. Despite its overwhelming commercial success, the levels of misogyny were, and let’s be honest, still are, mind-blowing.
Miller is particularly effective at demonstrating the inequality between the women’s and men’s competitions. The sequence in which players are called up to the draft is presented as a montage showing women, in their everyday lives as midwives, teachers and supermarket workers, discovering whether or not they have been selected to play in the newly formed league. On the surface, this may not seem particularly theatrical, but it is entirely intentional. Miller reminds us throughout the play that these women have lives, jobs and families outside football. Equality hasn’t been achieved simply because women are now “allowed” to play. Women continue to carry the burden of the mental load.
Visually, the performance is completely stripped back. Simple staging and costumes ensure the narrative is front and centre. The play ends with another audio recording, this time of young girls talking about how much they love AFL and how welcomed they feel in the sport. It is a complete juxtaposition from where we started.
Strong is the New Pretty is a comprehensive dive into the formation of the AFLW League. Humour is contrasted with moments of intense frustration and the entire cast delivers what can only be described as a warm and heartfelt performance.
Having experienced Miller’s previous work, I confess I expected more commentary on the blatant misogyny that surrounds women in sport in this country. Men throughout the performance were portrayed as insipid and stupid and, while immensely enjoyable to watch and arguably accurate, somewhat diminishes the role they had in preventing women from playing the sport. Admittedly, both RBG: Of Many, One and Prima Facie were one-woman shows, whereas this was a large ensemble cast, so perhaps they’re not comparable. Or maybe that’s the missed opportunity. I wonder if the play would have been more powerful had it focused on just one woman’s journey.
Regardless, Strong is the New Pretty is a brilliant celebration of the determination and unwavering grit of the women who refused to give up.
THREE AND A HALF STARS (OUT OF FIVE)
Strong is the New Pretty will perform at the Sydney Opera House until 12 December 2026.
For more information and to purchase tickets head to the Sydney Theatre Company website.
Reviewer attended on 29 October 2026.
Header image credit: PrudenceUpton
