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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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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Can men and women every really be just friends? It’s a question that has continued to plague romantic comedies since well before Noel Coward’s 1920s take on it in Home Chat. But now, in a repeat of the Roaring 20s, most of us can agree that the question is out-dated, but that doesn’t mean we can’t poke fun at the fuddy-duddies with issues of propriety and reputation up their noses.
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Years before the internationally acclaimed story of Summer of the Seventeenth Doll, Olive and Nancy and Roo and Barney were just kids coming out of the roughest years of the Great Depression. The future for themselves and the nation was unknown, only the summer stretched before them. In celebration of Ray Lawler’s 100th year, Lambert House Enterprises brings that summer to the Zoom stage for a staged reading of a blossoming love rectangle.
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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?
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Australia as we currently know it was built on the backs of wave after wave of immigrants; people who came to this newly colonised land for opportunities that often took the form of hard and thankless work. In A Migrant’s Son, performer Michaela Burger immortalises her immigrant family’s experience through songs that span countries, decades, and generations.
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Hannah Arendt’s theory on the banality of evil has become part of the common vernacular when considering the darker side of humanity; the way the whispers of cruelty seep into people undetected until the unthinkable happens. In the two-part production Morning Star, a group of writers imagine the consequences of pernicious ideas infiltrating otherwise unremarkable narratives.
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After a very successful festival in 2018, the team behind Caldera Festival have returned with another unusual, immersive arts experience. This time Caldera 360° is entirely online with three performances and two installations to explore from within your own four walls.
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Night Writes 