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A delightfully funny absurdist play that explores the nature of humanity and our fear of the unknown.
A delightfully funny absurdist play that explores the nature of humanity and our fear of the unknown.
This is a furiously dark physical comedy of death, loyalty and friendship. Mike and DJ, hired killers by trade, bludgeon, stab and shoot their way across Western Australia in search of the elusive Harry, gangland associate and target. Part homage to the British gangster movie, part Shakespearean tragedy, the blunt and blackly funny 'Mercy Thieves' melds cinematic and theatrical traditions in this wild road trip tale. (3 male, 1 female).
When a woman finds scars left by her ex-boyfriend of many years etched into her bones, she begins a turbulent journey to unpack her past and discover how he got under her skin. Based on the true story of two teenagers' romance as it blossoms then warps in the heat of bustling Singapore, Blue Bones is a one-woman show told with incredible honesty by Merlynn Tong. With multiple characters, song and arcade dance games, Blue Bones is a whirlwind of love and sex, violence and courage, with the wreckage continuing to be felt across the years. Against the backdrop of Singapore with all its beauty, rigidity and insistent chaos, Blue Bones will enchant and disturb, and perhaps even wake the stories dormant in your bones.
First produced in 1673 and Molière's final play, The Hypochondriac is a scathingly funny lampoon on both hypochondria and the 'quack' medical profession. Argan is a perfectly healthy, wealthy gentleman, convinced that he is seriously ill. So obsessed is he with medicinal tinkerings and tonics that he is blind to the goings on in his own household. However, his most efficacious cure will not appear in a bottle or a bedpan, but in his sharp-tongued servant, who has a cunning plan to reveal the truth and open her master's eyes. Adapted by Roger McGough The Hypochondriac was produced by the Liverpool Everyman and Playhouse and English Touring Theatre and premiered on 19 June 2009.
A reconciliation between a mother and the daughter she gave away at birth. Anna is a successful film editor in her 40s who has defined herself through her political conscience. Living alone in a cold, stylish apartment she believes she has come to terms with her history, until a young woman called Billie arrives at her door. Billie acts in soap operas, doesn't believe in political action and wants a mother. Together these two fractured women confront the implications of distance; between then and now, between generations and between the one who gave away and the one who was let go.
Five plays from around Australia which illustrate that the rich tradition of indigenous storytelling is flourishing in contemporary Australian theatre. Adapted from her award-winning novel, Vivienne Cleven's "Bitin' Back" is a 'zany and uproarious black farce'; "Black Medea", Wesley Enoch's richly poetic adaptation of Euripides Medea, blends the cultures of Ancient Greek and indigenous storytelling to weave a bold and breathtaking commentary on contemporary experience; The acclaimed "King Hit" by David Milroy and Geoffrey Narkle, strikes at the very heart of the Stolen Generations, exploring the impact on an individual and a culture when relationships are brutally broken; Set in the 1950s on the fringe of a country town, "Rainbow's End" by Jane Harrison creates a 'thought-provoking and emotionally powerful' (Age) snapshot of a Koori family to dramatise the struggle for decent housing, meaningful education, jobs and community acceptance; And David Milroy's "Windmill Baby" is set on an abandoned cattle station in the Kimberley landscape, combines the poetry of a campfire story with the comedy of a great yarn.
In drama, we are the creators. Like in a skeleton, the bones of drama only work together. The human context -- the situation, the people and their relationships -- are the flesh. The body is given shape and animated by the way we focus those basic elements, and how we place them in space and time. We breathe life into the body through the story and the tension we create, and we give it language and movement to express itself, clothing the drama with its mood and symbols. In 1987, Brad Haseman and John OToole released Dramawise, a dynamic guide to drama education. This book stands as a definitive text for teachers, students and drama practitioners, shaping many classroom programs and curricula at a state, national and international level. This is the successor. It reaches beyond the original concepts, offering newly challenging drama activities that reflect complex questions in todays society. The result is a complete coursebook for students and teachers of secondary-school drama, featuring activities that thoroughly detail each element of drama. This is done using process dramas and plays from the wider world. Practical drama activities are supported with in-depth discussion of each of the elements of dramatic form, as well as traditional and contemporary dramatic meanings and approaches to play-making contextualised by the elements of theatre.
Explores the impact of poverty and violence on children, families and community. This title is poetic and utilises Brechtian techniques, including multiple role-playing, episodic narrative, direct address and rhyming word to tell a story of three kids left in a car.