Remounted after a run at PACT in June of this year, Ninefold brings its reimagination of Macbeth back to the stage with a stronger design, clearer motivations, but the same spooky atmosphere.
Sigmund Freud sits in his London study, having fled the Nazis in Austria, listening to the announcements of the war spreading across Europe and dying. He has had mouth cancer for some time now and is in increasing pain as he edges towards death. This hasn’t stopped him from being his inflammatory self, though, and on this day, he decides to invite CS Lewis, his theological opposite, for tea.
Annie has written the play of her life and she is devastated to see her production team destroying her creation. She tracks down a man who inspired her early on in her career, an Australian director named Peter, but finds him cast aside as the janitor of a theatre school. Against his protestations, Annie convinces him to work on her play without realising the permission he feels granted. The Director attempts to investigate behind the scenes of an abusive and unethical director and tries to dismantle the myth of genius that keeps people like this in positions of power. The discussion of dangerous directors is typically kept under wraps, contained in rumours and whispers, but Nancy Hasty’s play brings it to the fore for everyone to consider.
The 2016 election of Donald Trump was a rude global awakening that the West had quickly forgotten what Fascism looks and sounds like. In the two years since, still, little has been done to address the insidious ways dangerous ideas and attitudes infect policy and perspective on all shores, including our own. Rich white men (and women) continue to cut funding to necessary sectors like health and public schools, detention centres are active and normal, and, yes, Australia is still racist. That’s why we’re seeing Nazis on stage with more frequency and more urgency; as reminders.
The debut production at the new Sydney performance venue Limelight on Oxford, uses a comedic approach to death and grieving to investigate attitudes to euthanasia and how our relationships change, or stay the same, after death. This new Australian play uses farcical elements and touches of the supernatural to unravel the past and future of a family in mourning.
We are living in desolate times. Politically, socially, and economically the Western world is struggling. YEN, a 2013 play from English playwright Anna Jordan, zeros in on a flat in a dodgy English town called Feltham and the small horrors that take place there. Under different circumstances, this could be a simple boy-meets-girl love story; but under different circumstances it might not have happened at all.
On a windy evening in Lucca, Italy, Geppetto returns to his lonely workshop, returns to his friends, puppets of his own creation. With them he can shut out the rampant fascism and hatred taking over his precious country. On this night in particular, however, he may return to his memories for the last time.