The most obvious fear about dying is the ceasing to exist part but one also has to consider all the preliminaries: will you be seriously ill or injured? Will you be able to stay at home or with family? Will you end up isolated in a care facility? These are the practical fears of dying that have only been exacerbated over recent years with the incredibly deadly COVID-19 outbreak in Victorian aged care facilities that killed hundreds of people in 2020 and the Royal Commission into Aged Care of 2021 that recorded countless instances of abuse and neglect across the country.Continue reading →
After weeks of rain, a coming-of-age story set under the summer sun was a sip of sweet relief. But not everything in Paradise is as good as it seems with a rogue orange vandal on the loose and a neighbourhood watch more invested in peace than justice. Maybe a blast from the past is exactly what this neighbourhood needs to shake it out of its stuffy ways.Continue reading →
Two strangers meet in a park ostensibly for a simple hook-up. But they each want something from the other and they aren’t being entirely honest about it either. As darkness falls and the sounds of evening traffic creeps in, the carefully hidden aspects of their lives begin to infiltrate their rendezvous and unsettle their strange acquaintance.Continue reading →
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.Continue reading →
Melbourne and Sydney, art and commercialism, love and money; whether it’s the 1980s, 2014, or 2021, the battle is the same with each side deeply entrenched in their beliefs about success and happiness. In David Williamson’s 1987 play, artists butt up against producers, funding bodies, and even the audiences all for the integrity of the art. But what’s really at stake?Continue reading →
The image of the tortured artist is a popular one; the sad sack, the alcoholic, the neurotic recluse. But even for artists who might be considered “normal”, there remains the rather insistent self-doubt: “Why am I doing this?” In Debra Oswald’s solo memoir performance, she explores the life events leading to her career as a writer and the many, many trials she’s faced over that career.Continue reading →
The concept of home and what having one gives to you are things many Australians are lucky enough to take for granted. Stability, safety, a memory of where you’re coming from, and a plan for where you’re going; small things denied to so many. In this autobiographical solo show, Oliver Twist examines his own experiences with starting over as a Rwandan refugee.Continue reading →
Anna is 18 and, while she hasn’t gone to uni or really figured out a plan at all, she wants to take control of her life. Part of this includes no longer taking the medication she’s been on for her entire adolescence in order to reclaim an earlier, more authentic version of herself. This isn’t a decision just for her, though, as a new boyfriend, her mother, and her long-term psychiatrist complicate the practicalities of mental health and being unwell.
Following middle-aged Sandra as she battles through the Sydney housing shortage after her housemates give her two weeks to leave, Brooke Robinson’s new work introduces a critical conversation to the Sydney stage. When we’re all familiar with the housing crisis on a macro scale through rising house prices and sales of car-sized land going for millions of dollars, Good Cook. Friendly. Clean. is a confronting portrayal of the personal cost for someone who slips through the cracks and is routinely denied basic human necessities.
Adolescence is really, really hard but add on an unwell dad, struggling mum, burgeoning sexual relationship, and an absurd blueberry costume and it can all become overwhelming very quickly. Staged as part of Griffin’s Batch Festival, Ang Collins’s Blueberry Play is an emotional roller coaster through a 17-year-old’s life in small town Australia. Plus, there are some pretty schnazzy labrador animations.