Pomona | Secret House with bAKEHOUSE

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Image by Clare Hawley

Alistair McDowall’s alternate version of Manchester is part game, part gritty crime drama, and part sci-fi thriller as the characters navigate their shifting and unreliable narratives. Pomona and The Girl are only myths until they become reality for those that choose to get involved.

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Blue Christmas | New Ghosts Theatre

Image by Clare Hawley

For the inaugural production of IGNITE Collective, New Ghosts Theatre brings two new Australian works about disfunctional and unusual Christmas celebrations to the stage. In Good People, the hours spent waiting in an airport stretch into unfathomable eternity while the women of Shandy’s Corner learn to lean on each other in times of grief and joy.

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Coram Boy | bAKEHOUSE

Image by Clare Hawley

A boy wants to become a composer but his controlling father forbids it and so he runs away, changing the course of not only his own life but that of his lover and their undetected unborn son. Adapted from the middle grade novel by Jamila Gavin, Coram Boy dives into 17th century England to explore class divides, the Baroque music scene, and the underbelly of the human trafficking industry.

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Good Dog | Green Door Theatre

A young boy gets taught that good things come to good people and he believes it until the difficulty of disappointment hardens that optimism and lets it flake away. Good Dog watches a boy grow into a young man and learn to process power and pain to make the best of his lot.

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Trevor | Outhouse Theatre Co with bAKEHOUSE

Image by Clare Hawley

In all the conventional ways Sandra is just a single mom doing her best to make ends meet after her husband left her while still providing the nurturing and stimulating environment her growing child needs. The only difference is that her son Trevor is actually a chimpanzee and the older he gets, the more precarious their position in the town becomes.

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The Rime of the Ancient Mariner | Little Eggs and JackRabbit Theatre

Image by Brett Boardman

The Rime of the Ancient Mariner by Samuel Taylor Coleridge is a seminal text in English Romantic literature which many Australians would have encountered in a high school classroom. It’s a poem detailing the penance an old mariner must pay for a moment of arrogance and cruelty against a “lesser” being. Little Eggs’s reimagining for the stage adds texture and movement, bringing new life to an old text.

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YEN | New Ghosts Theatre Company with bAKEHOUSE

Image by Asparay Photographics

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.

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DRESDEN | bAKEHOUSE

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Image by Clare Hawley

In a world premier, Justin Fleming connects Adolf Hitler and Richard Wagner across time through a love of art and opera. Asking the tough questions about want, creation, and responsibility, DRESDEN seeks to complicate the way we interpret both small moments and their influence on the large names of our history.

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The Carousel | bAKEHOUSE & Pip & Han Inc.

Two sisters in Sydney’s western suburbs grow up together, teaching each other about how to love themselves, connect with others, and understand the world around them. After a medical scare, older sister Christa hatches the perfect plan to help younger Jamie overcome her mental health issues and hermit-like lifestyle but, like a lot of sibling interactions, she realises she’s gone much too far. This debut production for Pip & Han Inc. shows us how love can steer you so wrong.

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Are We Awake? | bAKEHOUSE

AWAReh-4Charles O’Grady’s third original play makes a return to the stage at Kings Cross Theatre as part of Sydney’s 2018 Mardi Gras. Are We Awake? details a crucial morning in the lives of Endymion (Mathew Lee) and Hypnos (Daniel Monks) as they navigate the complexities of their relationship. O’Grady’s script is a well-balanced one which flows smoothly between the joy, desire, frustration, anger, and (dis)comfort of contemporary queerness, disability, love, and external practicalities. It’s a balance placed in the safe hands of director Sarah Hadley who adds a delicate direction to the two-hander.

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