Bushfires are a familiar summer phenomenon in Australia but, if you’re among the majority of lucky Australians, you don’t see much beyond the nightly news segments and brief interview soundbites from survivors. What does a bushfire do to a community or a family? How might the shock of loss shape the rest of someone’s life?
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After the success of Kill Climate Deniers in 2018, playwright David Finnigan again brings climate change explicitly to the stage with a story full of raunchy, raucous characters and extreme circumstances. This time environmentalism comes up against click-bait sexuality when a young writer finds herself caught in the middle of art v capitalism and control v pleasure.
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History is an inescapable force. It settles deep into the soil and reverberates forward through time. In this new multidisciplinary collaborative production that spans Australia and Singapore, the consequences of a generations-old crime crop up in the lives of three seemingly unrelated women. What about their past is hiding in plain sight?
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Is there a more pressing time than now, in the centre of the social, political, environmental, health crisis of our time, to consider the impact of art? For one young man, some snippets of songs are enough to unravel the deeply enmeshed timelines of his life, his community, and the political stability of his home country. Despite trying to start over on another shore, music and the memories tied up in the lyrics and rhythms follow him, calling him back to a life he’d rather forget.
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If the last few years have taught us anything, it’s the necessity of community resilience. As wave after wave of COVID-19 variances have hit Australian shores, our communities have taken a beating but the future promises even more challenges as climate change continues to alter the systems and processes that hold our society together. The Pulse recognises and recreates these societal cycles in a marriage of light, sound, and movement.
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What thrills many people about theatre is its proximity to real life: real people walking around real space in real time. In this new piece by co-creators Anna Breckon and Nat Randall, the conglomerate form of theatre and film presses on the boundaries of intimacy and relation including the relationships between the actors on stage and the audience in the wings.
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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.
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Night Writes 