'“I love food” Nakkiah Lui says, and in the next breath whispers “so give us back our land”. In First Eat, a confrontational, raw and highly personal exploration of food politics, power and body sovereignty, Nakkiah Lui asks how our meals would look different if First Nations people owned the land from which the food came. First Eat is about more than just food, it’s an aural feast for a rich future.' (Publication summary)

When a young Aboriginal woman flees a cataclysmic event in her personal life, she finds herself involved with a mismatched group of doomsday preppers.

'They’re wearing ball gowns, they’re debutantes... and they’re black. The debs’ ball is a controversial colonial export but can it be empowering too? Australia’s most celebrated young playwright Nakkiah Lui and actress Miranda Tapsell put on their hats and gloves to find out.

Nakkiah and Miranda are angry, young, vocal, Aboriginal and very, very funny. Join them on their journey, starting with a lesson on teatime etiquette in London where it all began, as they follow the debutante trail and discover that First Nations women across the globe have made this tradition their own. Nakkiah and Miranda ask: can beauty, poise and politeness actually empower them? Or is it better to get angry and start shouting?'

(Source : Audible)

'An unlikely national hero, Alex is catapulted into government in a cynical power play. Used, abandoned and underestimated, now she's on a path that will send the political establishment into meltdown.'

Source: Screen Australia.

'Sex, lies and the balance of power

'An Aboriginal, an Asian and an Islander walk into a bar. It’s not the beginning of a racist joke, it’s the catalyst for a stinging satire on Australian politics from award-winning playwright Nakkiah Lui (Black is the New White).

'Vic, Zaza and Chris are political insiders hustling their way to the top. They want influence, they want change, they want to take over Parliament House. They leave that bar drunk on power, with a plan to take over the world. First step: find a likeable white guy to use as a political puppet. What could possibly go wrong?'

Source: Sydney Theatre Company.

'Reconciliation… or revenge?

'Somewhere in the Australian bush, mild-mannered archaeologist Dr Jacqueline Black is conducting a survey on a site intended for the new factory of a shadowy corporation. She’s under pressure to provide the all-clear, but when her dig uncovers a mass grave, she picks up a skull and is immediately over-powered by the spirit of her Aboriginal great-great-grandmother. Blackie Blackie Brown, cold-blooded vigilante, is born.

'In a no-holds-barred gore-fest, she’s going to kill all the descendants of the men who massacred her ancestors. White people, watch out. You could be one of them.

'Paying homage to blaxploitation movies, Blackie Blackie Brown features the work of Barkindji, Birri-Gubba illustrator Emily Johnson and animations by visual effects whiz-kids Oh Yeah Wow. Nakkiah Lui’s script matches perfectly the lo-fi, hi-camp style of director Declan Greene (Sisters Grimm’s Calpurnia Descending).

'With break-out newcomer Megan Wilding in the title role, and the ever-hilarious Ash Flanders playing every white person she needs to kill, this two-hander is a wild ride that will have you laughing out loud while squirming in your seat.

'All in all, it’s precisely the violent and uncompromising take-down that our country’s genocidal history had coming.'

Source: STC.

'Nakkiah and Miranda have conversations Australia is uncomfortable having—about sex, relationships, dating, power, and, most difficult of all, race.'

(Source : Apple Podcasts)

'Two cousins from Sydney’s outer suburbs decide that the only way to feel loved is to turn their back on their family for good, causing a family to implode, and two lives to be changed forever.'

Source: Screen Australia.

'When Nakkiah Lui describes the concept of her new web series, she does it so matter-of-factly it almost sounds normal.

“It’s about a girl whose vagina comes to life. She has to learn to love herself by learning to love her vagina,” Lui says nonchalantly.

Or, to put it another way: “It’s about a little black girl in a big white world whose vagina is her best friend.”' (Introduction)

'Charlotte Gibson is a lawyer on the up. She won a landmark Native Title case, she’s making her parents proud, she could have her own TV show tomorrow. As her father Ray says, she could be the next feminist Indigenous Waleed Aly. But she has other ideas. First of all, it’s Christmas. Second of all, she’s in love.

'Charlotte's fiancé, Francis Smith, is not what her family expected. He's an unemployed experimental classical composer… and he's white! Bringing him and his conservative parents to meet her family on their ancestral land is a bold move. Will he stand up to the scrutiny? Or will this romance descend into farce?

'Love is never just black and white. It’s complicated by class, politics, ambition, and too much wine over dinner. But for Charlotte and Francis, it's mostly complicated by family. Secrets are revealed, prejudices outed and old rivalries get sorted through. What can’t be solved through diplomacy can surely be solved by a good old-fashioned dance-off. They’re just that kind of family.'

(Production summary: Sydney Theatre Company: https://www.sydneytheatre.com.au/whats-on/productions/2017/black-is-the-new-white )

A series of five plays by Australian playwrights, collected and performed as a single performance.

'Blaque Showgirls / is not your standard sexploitation story. Ginny is a white-skinned ‘blaque’ girl who dreams of becoming the best Aboriginal dancer in the glitzy clubs of Brisvegas. Belittled by judges at her first audition, Ginny begins to doubt that she’ll ever perform her ‘Peking Emu’ on stage. That is, until the Asian hostess of Kum Den shows her there’s more than one way to make a buck out of a stereotype or two. Ginny’s big break is just around the corner and cultural sensitivities be damned, she’s gonna make it after all!

'Blaque Showgirls deftly flips the cult film genre on its head to unravel cultural clichés. Created by the writer behind Blak Cabaret and ABC’s Black Comedy, this wicked satire asks audiences to leave their privilege at the door. Hold on to your seat as Brisvegas’ newest star clumsily / strips Australia bare.' (Production summary)

'Blak Cabaret / is our star-studded gala to unleash Season 2015. A raucous addition to Southbank’s inaugural SummerSalt Outdoor Arts Festival, we invite you to join us for a night of sparkling variety that assembles some of Australia’s finest Indigenous musicians, comedians and dancers on stage in our forecourt and under the stars.

'Flipping Australia’s history on its head, the unstoppable diva Constantina Bush (Kamahi Djordon King, The Shadow King) blazes onto the stage as a forgotten queen from a distant land, taking no prisoners and claiming this terra nullius as her own.

'And she’s bringing with her blak royalty. Join Constantina and a host of Australia’s most celebrated radicals including Kutcha Edwards, Deline Briscoe, Nikki Ashby, Bart Willoughby and Emma Donovan for an uproarious and subversive party that / lights up the night with music, comedy and dance.' (Production summary)

'Kill the Messenger is a funny and shocking tell-all from a true maverick.

'In 2011 Gamilaroi/Torres Strait Islander playwright/law student/performer Nakkiah Lui started writing a play for Belvoir. It was based on a true story about a man in her home suburb of Mount Druitt. One day, in unbearable pain due to undiagnosed stomach cancer, he went to the local hospital, where he was refused care. Then he went to a nearby park and hung himself. The theme of the play: institutionalised racism.

'Then in 2012 Nalddah's grandmother fell through the unmended floor of her public housing home and died. Nakkiah found herself at the centre of a story about ... institutionalised racism. The resulting play lays it all out - her dodgy sex life, a dead man's second chance, and a granddaughter's sense of duty.

'Cunningly composed rage is one of theatre's great modes. Kill the Messenger is an exemplary case in point. Anthea Williams (Forget Me Not) directs the incomparable Nakkiah Lui as herself in this game-changing rethink of what black theatre could be.'

Source: Belvoir.

'The six-episode series Black Comedy, written by and starring indigenous performers, is the first comedy by the ABC's Indigenous Department. Since its launch in 2010, the department has primarily produced critically acclaimed drama including Redfern Now, The Gods of Wheat Street and telemovie Mabo. 'The series combines a mix of obsercational physical shetches, historical sketches and parodies of TV, film and commericials.' (Source: The Sydney Morning Herald online; Koori Mail issue, 587, 2014:4)