Ron Elisha, a speaker of Hebrew, graduated from Melbourne University in 1975 with a degree in Medicine, and has since practised as a general practitioner. He has been a member of the Australian Writer's Guild, the Fellowship of Australian Writers (FAW) and PEN International. He received the 1990 Best Screenplay Houston International Film Festival Gold Award for By My Own Authority. He read at the Sunflower Bookshop in 1990.
Has also written scripts for television, film and radio. Won an AWGIE award for the television play Death Duties in the ABC series Six Pack.
Awards for Works
Stainless Steel Rat2011single 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)
Renaissance2005single 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).
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)