Agamemnon is a rock goddess on an international tour to grow her fame like never before. But she has a complicated family past that her detractors bandy about at the least provocation; spreading rumours that tarnish her unbelievable success. In Ang Collin’s reimagining of the Greek tragedy, the limitations of loyalty are tested in a mother’s struggle for selfhood.
A limber baby wanders into the orbit of rage and cannot help but get caught up in the existential rhythm of the music. From here she will trace the projection of her adolescence and learn to barter in fear and sex. Sotto’s new monologue piece takes a sideways glance at Australiana, gender, and childhood.
Against a pixellated Manhattan skyline at sunset (the perfect backdrop for an Internet seduction) Joe Fox and Meg Ryan talk and flirt to escape their meat-puppet bodies. It’s a modern love story: two people fall in love anonymously online without knowing that, in real life, they are rival bookshop owners. In Ang Collin’s and Sarah Hadley’s retelling of the classic 1990s romcom, though, Meg_Ryan and Tom_Hanks are a lot, lot weirder.
Based on Eimear McBride’s 2013 novel of the same name, A Girl is a Half-Formed Thing is a brutal and unrelenting portrayal of the life of a young Irish woman from before her birth into her early 20s. Seeming to move from trauma to trauma and diving deep into the horrors of poverty, sexual, physical, and emotional abuse, illness and death, the protagonist understandably struggles to understand herself through the lenses that the surrounding world imposes on her.