How do we process grief? What is actually happening when we remember? What do our emotions look like? What do they sound like? In Pollon, the complex inner workings of grieving, living, and remembering are externalised in movement, ritual, and repetition for an experimental interpretation of the solo narrative performance.
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Who doesn’t like to dabble in the occult while on a bender with your roommate? Sometimes desperate times call for some desperate wish fulfilment, even if that wish is for the reincarnation of the most famous playwright in English history. Wil and Grace is a heartfelt romp through fantasy, witchcraft, and grief in a Petersham sharehouse.
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What is it about theatre? Good and bad; amateur and professional; cast, crew, and audience; why do we do it? It’s about love and truth and heartbreak and fun and the simple thrill of telling a good story. In Belvoir’s second reopening, the Boomkak Panto brings together the time-honoured traditions of theatre with a fresh, contemporary perspective as a celebration of the very best of theatre-making.
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In 1973, a few weeks before Christmas, 14-year-old Susie Salmon goes missing when walking home from school. She’s been murdered by her neighbour and now she watches on from Heaven as her community pieces together the last day of her life and learns to navigate the future without her. Adapted from the 2002 international best selling novel by Alice Sebold, the Lovely Bones is about living and loving with grief.
Continue reading →Night Writes sits down with co-writers and producers Natasha Cheng and Roelene Coleman to discuss the debut production We’re All Terrible, Let’s Watch TV from Well, Actually Productions.
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For thousands of years people have been building connections through rituals and one of the most enduring rituals is storytelling. In this immersive and interactive production, the audience is invited into the show to construct their own unique story together, a story never told before or since.
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The multiculturalism of Australia has been a hot-button topic of discussion for several years now, usually raised around issues of immigration, international relations, and national pride during events like Australia Day. But even if it seems particularly relevant recently, Alex Bezo’s 1960s script Norm & Ahmed shows that culture clashes in this land are old news.
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The last time Kendall Feaver’s work appeared on Griffin’s stage was the dense and jagged examination of mental illness The Almighty Sometimes. In this new work, Feaver takes on an equally thorny topic of sexual assault on university campuses, as well as the implications for feminism, racism, and the power imbalances that uphold these sacred institutions of knowledge.
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Night Writes is joined by actor Rajan Velu to discuss the upcoming production Norm & Ahmed with Australian Theatre Live.
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Perhaps you saw the headlines claiming COVID-19 to be the worst pandemic since the Spanish Flu or condemning the unprecedented response of major governments’ to the spread of the disease. Perhaps you also thought, have they forgotten? Three Winters Green depicts stories of the last major pandemic to hit Australian shores, namely the HIV/AIDS crisis of the 1980s.
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