Image by Phil Erbacher
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.
Charles 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.
Night Writes 