While being one of Shakespeare’s less-performed plays, the Merry Wives of Windsor uses many of his classic theatrical elements including disguises, revenge plots, arranged marriages, and plenty of innuendo. With recognisable characters and plot points from other Shakespearean comedies, this rendition also aligns the script with equally recognisable comedy tropes from an Australian context to add extra dimension to the raunch and gossip.
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It’s the kind of story that rallies people together and strikes fear into the hearts of the rich and powerful: the downtrodden rise up and right the wrongs done to them by their oppressors. In the case of Fuente Ovejuna, the history is true. In Angus Evans’s new adaptation of the Spanish classic, the patterns of revolution ring out across time and place.
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After an ironic interruption in 2020, Theatre Travels’s short play festival NO: INTERMISSION returns with four new plays this year. The first week’s selection travels from war-torn Vietnam to the isolation of Coober Pedy to explore themes of regrets, violence, and death.
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Image by Blake Condon
Perhaps this is an unremarkable Friday evening in the home of an upper-class family with its usual problems. Or, perhaps this is the evening that finally begins the process of throwing the many cracks of regret, deceptions, and desires into relief; when the rocky marriage, alcoholic sister-in-law, fake friendships, and co-dependent daughter all come home to roost.
Image by Clare Hawley
Bob and Jennifer Jones are a typical American couple living out their lives in a quiet, woodsy neighbourhood. Bob was recently diagnosed with a rare neurological disease but they’re coping as best as they can. When the other Joneses, Pony and John, move in, their world is unsettled enough for them to question what’s left unsaid.
Night Writes 