The attitude of splitting people into winners and losers is a distinctly American phenomena that inspired Michael Arndt’s screenplay about the Hoover family, a band of misfits fighting against the belief that they are exemplary losers. Adapted into a musical by James Lapine and William Finn, Little Miss Sunshine follows this bland family in their bright yellow VW van from New Mexico to California for the competition of their lives.
It’s a well-known story of imagination and heart full of beloved characters and classic songs. In this adaptation, Cameron Farnham injects the community theatre spirit into The Wondrous Wizard of Oz with references to the Lane Cove area, some Australian cultural gags, and a few additional hit songs.
Times were a-changing in mid-century Australia: the traditional gender roles were opening up to allow women to work and attend university, immigration was booming, and consumerism was on the rise as people celebrated new prosperity. Lesley Miles is on the cusp of this new world, hoping to step into herself and become something special.
Have you ever loved something so much that it took over your world, pushing things like family and school into subplots and background information to the fateful love story at the centre of it all? Have you ever felt that way about someone you’ve never met? Never seen or touched in real life? Someone who doesn’t know you exist? That overwhelming, all consuming sensation is called being a fangirl.
Inspired by true events, The Sapphires tells the origin story of an Aboriginal girl group on tour to entertain the troops in Vietnam. The four sisters bring their everything to the band and, over the long, hard few weeks away, they learn a lot more about themselves and the shifting dynamics of their childhood relationships.
In a true blue story of hardship, Australian egg farmers are facing bleak times with the invention of man-made egg replacements. A charity concert fundraiser seems like the best solution until it sparks an uncontrollable urge to give, which threatens conceptions of good and fairness. Taking it back to Hume, We Are the (End of the) World takes on charitable giving as a measure of altruism motivated by self-importance and a twisted promotion of individual sacrifice.
Guido is a master filmmaker with an illustrious career that has taken a turn for the worse with a string of lacklustre releases. When his career reaches crisis point, the consequences of his shortcomings become painfully clear and his womanising ways won’t save him anymore. Little Triangle’s NINE is an unsympathetic fall from grace, a welcome reckoning.