AustLit

'A world premiere production as part of Brisbane Festival

'Set against the epic violence of the Trojan War, Holding Achilles by David Morton is a refreshing take on one of the ancient world’s best-known heroes, and his relationship with Patroclus, his not so well-known lover.

'This breathtaking new production from visual theatre masterminds Dead Puppet Society and physical theatre virtuosos Legs On The Wall reclaims the queer aspects of The Iliad. Set to a haunting new score performed live by Montaigne, composed with Tony Buchen and Chris Bear, this innovative new work blends heightened physicality and visual storytelling with an ensemble cast to weave a legend of mythic proportions. A tale of trials, grief and love – Holding Achilles is an epic tale about a fearless bond forged in the toughest of times.

'As a young exile taken in by Achilles’ father, Patroclus faces hostility from the young hero until they are thrust together to train under the centaur Chiron, and the two form an unlikely friendship. As Achilles doggedly seeks to fulfil his mother’s prophecy to become a legend, their relationship becomes something more. But war with Troy is brewing, and the two young men find themselves caught between their hopes for a future together and the brutal realities of the world that faces them.' (Production summary) 

'Far beyond the outskirts of the big city, near a tiny town that nearly everyone forgot, lay a dry creek bed of no special significance.

'Once upon a time it was called Washpool Gully.

'But the world had moved on from insignificant things, and no one had time for dry creek beds.

'Except in Washpool Gully something was stirring.

'Shaken by the rumble of engines and the darkening of the sky, something long asleep had decided to wake up.

'Combining old-fashioned storytelling with contemporary puppetry and miniature sets, The Riddle of Washpool Gully is a reimagined tale of Australian mythology about incredible creatures that might still live in the uncharted corners of our vast country.'

Source: Terrapin Puppet Theatre.

'Laser Beak Man, the hyper-coloured superhero first created by Sharp at age 11, protects the most beautiful city in the world, Power City, with laser beams that turn bad things to good. Robbed of his abilities after evil genius and estranged childhood friend Peter Bartman steals his crystals, Laser Beak Man must fight to save his oldest friends and their city before they are destroyed forever.'

Source: Sydney Festival (2020).

The Wider Earth recounts 'in epic form a scientific voyage of discovery that would, in the end, rock the foundations of religion and revolutionise scientific thought.' Over two hours, and with the incorporation of puppetry, writer/director David Morton focuses 'unwaveringly on Darwin’s journey from dilettantish family disgrace to tormented scientific pioneer thrown headlong into conflict with God' (Buzzacott).

In his review of the 2016 premiere production Martin Buzacott writes of the production's conception:

The kicker comes with the puppetry, beautifully rendered moving incarnations of the wildlife that inspired Darwin’s theory of evolution. These gorgeous and charming creations (in part ­inspired by Handspring Puppet Company in Cape Town) not only captivate the audience’s imagination but, through theatrical ­estrangement, constantly rein­force the diversity, beauty and wonder of the natural world.

Entranced by the big picture horizons of galaxies and maps projected on to the cavernous Bille Brown Studio walls, the audience journeys with Darwin on the Beagle’s voyage in which 19th-century Bible-bashing runs headlong into evidence contradicting inherited belief (Australian 18 July 2016).

'Clara lives with her partner, Erik, in a clean, modern home untouched by a flood that has ravaged many parts of their town. Recently unemployed and growing fat and slovenly, her days are spent in front of the television, awash with images of disasters and destruction and programs that flaunt versions of the woman Clara could be if she tried. She is overwhelmed to the point of apathy; immobilised. Feeling so numb, she toys with Erik'’s emotions, and sends him on excursions to fetch her obscure items for a book he has obligated her to make, as if to extract some new reaction from him. She is, perhaps, trying to sabotage their comfort.

'One stormy night, Eugenie comes to the door as a Jehovah'’s Witness to speak to them about the End Days. When she is invited in to take shelter, the evening soon drips with danger, violence, and ugly truths. And Clara’'s hideous troll skin will be revealed and burst open. ' (Publisher's blurb)