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Ron Elisha Ron Elisha i(A35590 works by)
Born: Established: 1951 Jerusalem,
c
Israel,
c
Middle East, Asia,
;
Gender: Male
Arrived in Australia: 1953
Heritage: Jewish
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Works By

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1 y separately published work icon Ecumenical Gestures Ron Elisha , (Manuscript version)x400273 Z851111 single work drama
1 y separately published work icon Pigtails Ron Elisha , (Manuscript version)x400272 Z851108 single work drama
1 y separately published work icon Gropius Ron Elisha , (Manuscript version)x400271 Z851105 single work drama
1 y separately published work icon Still Life Ron Elisha , (Manuscript version)x400270 Z851102 single work drama
1 7 Stainless Steel Rat Man in the Middle Ron Elisha , 2011 single work drama "If we can only live once, then let it be a daring adventure that draws on all our powers." Julian Assange.

In this daring new play, simple questions are asked. Who is Julian Assange? A bogan with a modem? Or the most consequential revolutionary Australian of our time? How is it possible that a self-educated hactivist from the outskirts of Melbourne, who never finished high school, could change the world and initiate a global chess game in which Barack Obama, Dmitry Medvedev and even our own Julia Gillard are not just key players, but pieces on the board itself?

This 'wikiplay', an expose on the secrecy of government being destroyed by new concepts of technology, derives inspiration from the words of Assange himself: "Change the world... through passion, inspiration and trickery!" (Source: Showbiz website)
1 3 The Schelling Point Ron Elisha , 2010 single work drama 'Nobel Prize winner Tom Schelling was a widely respected nuclear strategist, whose influence fed directly into the White House and indirectly into Stanley Kubrick's filmmaker mind. The play flips between amusing, sometimes farcical comedy as Kubrick creates Dr Strangelove, to high tension as the President and his inner circle struggle to rein in World War III, all played out to the romantic rhythms of Frank Sinatra.' Source: http://rocksurfers.org (Sighted 15/07/2010).
1 Rabbi Without a Cause Ron Elisha , 2007 single work drama What happens when a Rabbi loses his faith?
1 y separately published work icon Freedom Ron Elisha , Hobart : Australian Script Centre , 2006 Z1596021 2006 single work drama

'US President Charles Foster Raye (Chuck) is due to address the UN in order to try and avert an all out war with China. He approaches a speechwriter, Theresa, in order to write the first great speech of the 21st century for the occasion. Unable to resist such an opportunity, she takes on the challenge, then panics, terrified that she will be unable to deliver. Norman, her therapist, offers to help her through the process. Together, with the iconic speeches of the 20th century projected over the entire set, they deconstruct each speech, in an effort to discover what makes it work.

'The reason that Norman offers to help Theresa is that he is deeply in love with her, but cannot say anything because of the therapeutic relationship. Norman's therapist, Prudence, disapproves strongly. Never having been in a serious relationship herself, she aches for the touch of another human being, but would never dream of acting on this desire.

'As it happens, Prudence is also the President's therapist. Chuck is not coping, and is on the verge of a total breakdown. Prudence feels she should somehow reveal his predicament, for the public good, but is restrained by her fear of destabilising the nation in a time of crisis.

'As the public rhetoric of freedom grows increasingly hyperbolic with each successive speech, the personal freedom of each of the characters progressively narrows, as they become increasingly trapped by their circumstances.

'A moving study of the illusory nature of freedom in the West.' (Publisher's blurb)

1 y separately published work icon Carbon Dating Ron Elisha , 2006 Hobart : Australian Script Centre , 2006 Z1595810 2006 single work drama young adult humour Thirteen characters go on a succession of first dates. Through a number of hilarious, sometimes excruciating scenes, we come to see not only the complex web of relationships that exists between these characters, but also a certain primal template for the mating ritual that cannot be ignored. Part of the folklore of this ritual is the necessary myth that, somewhere out there, there is a Mr or Ms Right for each of us. (Publisher's blurb)
1 2 Controlled Crying Ron Elisha , 2006 single work drama 'As parents, though we might move heaven and earth in order to spare our children the slightest sorrow, it can be argued that it is as much our role to allow them to learn how to cry as it is to protect them from the very troubles that provoke their tears. The impossible balancing act of parenthood. In the midst of the intimate darkness of the marital bed, Libby and Oscar play out the odyssey that is the raising of Millie, through a series of deft scenes spanning a quarter of a century, with all the angst, humour, pettiness and sheer profundity that is marriage and the raising of a child.' Source: Bakehouse Theatre e-newsletter 27/09/2012.
1 Renaissance Ron Elisha , 2005 single work drama A man is dying and da Vinci is passionately drawing. He wants the man's body for anatomical dissection. His work is believed to be that of the devil and he is charged with a crime against humanity and the soul of man. Passion and outrage collide. Three people shall become da Vinci's future: a 100-year-old man who counts every breath, a restive priest fighting for his own morality, and a woman who shall become forever famous. Whilst set in 16th century Italy, the themes explored in Renaissance are as eternal as the smile on the face of La Giaconda: the rise of fundamentalism as a reaction to the modern/feminist disposition and its need to control women; medical ethics, the oppression of free thought and the place, purpose and importance of the artist.' Source:http://www.theprogram.net.au/giveawaysSub.asp?id=849&state_id= (Sighted 02/11/2206).
1 2 Wrongful Life Ron Elisha , 2005 single work drama
1 y separately published work icon Honour Killing Ron Elisha , Hobart : Australian Script Centre , 2004 Z1596044 2004 single work drama young adult

It is 1982. Faride, a young perfume sales rep, is on a train. It is her first trip to Paris. Father Sam Brown, a Catholic priest, enters the compartment and engages a reluctant Faride in conversation. A game of cat and mouse ensues until, finally, their true identities are unmasked. In the scene that follows, Faride is being interrogated for her part in a terrorist plot to destroy the Eiffel Tower. It transpires that she is pregnant. An immaculate conception. She is to be incarcerated and, upon delivery, separated from her child.
It is 2006. Sam, an orthodox Jewish mohel (one who performs ritual circumcisions), is on a train. Into his compartment steps Dimity, a young US soldier. She is on her way to Washington to receive the Congressional Medal of Honour for the courage she has shown during her tour of duty in Iraq. But during her time in Iraq, she has discovered her true identity, and has decided that she will use the occasion to make a political speech. During the conversation that ensues, Sam's true identity is revealed, and Dimity holds him at knife-point. Her ascendancy, however, is short-lived.
In the scene that follows, Faride, dressed in her purest Muslim finery, is on a train. She is on her way to Mecca, for the Haj. Seated opposite her in the compartment is a bearded figure claiming to be Osama Bin Laden. During the conversation that ensues, their true identities are revealed. Faride is there to avenge her daughter's death. Sam is on his way to destroy Islam's most sacred site - the Tomb of Abraham. Only one will emerge from the train alive.
In a play of mounting tension, twists and turns, the relationship between Islam and the West is played out as it has never been played out before. (Publisher's blurb)

1 y separately published work icon Love Field Ron Elisha , Hobart : Australian Script Centre , 2004 Z1596006 2004 single work drama

It is November 22, 1963. JFK has just been shot dead. We are aboard Air Force One, taking off from Love Field in Dallas, Texas: Lyndon Baines Johnson, the newly sworn-in President, Jackie Kennedy, the grieving widow of the recently deceased President, and the casket - the last forming the centrepiece in what is arguably the most emotionally charged airplane journey of all time.
As the hunt for the assassin unfolds off-stage, the Widow and the Usurper are forced to confront the personal consequences of what has just happened. Layer by painful layer is stripped back as we bear witness to the dreams, the fears and the regrets of these two iconic figures, suddenly finding themselves at the very pivoting point of history. Initially at opposite poles of the emotional universe, by journey's end they have reached an odd kind of understanding - one that has taken root in the shadow of the dead President's casket.
Taking its inspiration from recorded conversations that took place between Lyndon Baines Johnson and Jackie Kennedy in the wake of the assassination, Love Field explores what it is inside one human being that engenders love in another.

1 y separately published work icon Blood Libel Ron Elisha , Hobart : Australian Script Centre , 2004-2008 Z1595995 2004-2008 single work drama

Lottie is a Holocaust survivor with a mission, and that mission is to silence - once and for all - the world-renowned revisionist documentary-maker and Holocaust-denier, Magnus. In order to do this, she conceives a plan whereby she will invite him to open an exhibition, ostensibly as part of a fund-raising drive designed to raise backing for his next documentary.
But there are two things she omits to mention in her invitation: First, the fact that the venue for the fundraiser is the Jewish Holocaust Museum and, second, the nature of the chief exhibit. For it is Lottie's ambition to create a massive mural using the excised tattoos from the forearms of 3,500 Holocaust survivors.
Herman, the curator of the museum, is understandably appalled, and vetoes the plan. But Lottie will achieve her ends by fair means or foul.
In a fast-moving play that weaves its way skilfully through the complex web of relationships that exists between its five characters, Blood Libel places us on a collision course with what lies at the very core of anti-semitism. In so doing, however, it also paints a far broader canvas delineating the nature of the blood libel that each of us carries close to our heart.

1 y separately published work icon The Goldberg Variations Ron Elisha , Strawberry Hills : Currency Press Playbox Theatre , 2000 Z556843 2000 single work drama

'Sol, a blind piano player, is asked by the Goldberg family to write a speech. Quick to observe the nuances of emotion that run through this family of combatants, what follows is a journey of laughter and love, spotted with the occasional furtive tears, as Sol marks the family's births, deaths and marriages through his speeches. His vision, however, is somewhat obscured when it comes to acknowledging his own heart.

This wise and witty play observes how honesty, objectivity and affection can survive the most tangled of relationships.'

Source: Australian Plays.org
 

1 Paris (from Paris, a Novel-in-Progress) Ron Elisha , 1999 extract
— Appears in: Enough Already : An Anthology of Australian-Jewish Writing 1999; (p. 231-246)
1 3 A Tree, Falling Ron Elisha , 1998 1998 single work drama
1 1 y separately published work icon Too Big Ron Elisha , New South Wales : Random House Australia , 1997 Z833959 1997 single work children's fiction children's 'Everyone says that things are Too big, Too little, Too old, Too much. Abby wants to know when things will be just right. But her mum says she asks TOO MANY QUESTIONS!' (Publisher's blurb)
1 Kunzel Ron Elisha , 1996 single work short story
— Appears in: Westerly , Summer vol. 41 no. 4 1996; (p. 37-46)
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