Going beyond the archives to revive a street's lost history

Logan Street in Adelaide, once known as Little Beirut, has emerged from obscurity thanks to the efforts of writer and director Jacob Boehme. The street, located in the city’s south-west corner, was historically home to a diverse group of marginalized communities, including Aboriginal people and non-European migrants. These groups faced severe social exclusion and legal restrictions, particularly during the 1940s, when Aboriginal individuals were required to sign away their identity to gain access to city streets. Non-European migrants, such as Afghan cameleers, were similarly subjected to surveillance and discrimination. Boehme’s new play, Logan St, seeks to reclaim this forgotten history, bringing to light the lived experiences of those who once called the area home. Boehme’s journey to create the play began with the stories passed down through generations, especially those shared by his grandmother, Dulcie Sansbury. A resident of Logan Street during the pre-war era, Dulcie formed an unexpected bond with Afghan cameleer Gool Mahomet, known locally as “Goolie.” Their relationship, rooted in mutual respect and cultural exchange, became a central theme in the play. Boehme spent three years researching the historical context of the street, delving into city archives, state records, and local publications. He discovered that while Logan Street was economically disadvantaged, it was rich in cultural diversity and resilience. This revelation inspired him to craft a narrative that honored the complex histories of its inhabitants. The play’s casting process was equally meticulous. Actor Alexis West, a Birri Gubba, Wakka Wakka South Sea Islander woman, was chosen to portray Dulcie. She described the experience of reading the script as deeply moving, noting how it captured the essence of her ancestor. Similarly, Ali Ammouchi, an actor with a Lebanese background, was cast as Goolie. His preparation included visiting the grave of Gool Mahomet at the West Terrace cemetery, a gesture that underscored his commitment to honoring the character’s legacy. Ammouchi expressed the emotional weight of the role, emphasizing his desire to tell Goolie’s story with authenticity and reverence. Beyond the main narrative, Boehme’s personal history adds another layer to the play. His great-great-great-great grandmother, Munarto Nellie Raminyemmerin, was taken by seal hunter John Wilkins to Kangaroo Island at the age of 14. As a Kaurna woman, she used her knowledge of the sea to rescue her children after Wilkins abandoned her following the decline of the sealing industry. Her story, a testament to survival and strength, is interwoven throughout Logan St. This connection highlights the broader themes of displacement, resistance, and cultural endurance that permeate the play. As the opening night approaches, Boehme acknowledges the immense responsibility that comes with presenting such a powerful and personal work. He admits feeling nervous about the performance, especially knowing that family members will be in attendance. The anticipation is palpable, not just for the audience but for the community whose history is finally being acknowledged on stage. The play represents more than entertainment, it is an act of remembrance, a bridge between past and present, and a celebration of the enduring spirit of those who once walked these streets.