'Anna is coming of age. Possibilities are unfurling in front of her and she’s ready to take control. But her mother’s been standing guard all these years, taking care, editing the choices.
'When Anna makes a decision that could affect the rest of her life, can Renee stand by and watch?'
Source: Royal Exchange Theatre.
'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 )
'If anyone can write a full-throttle drama of our colonial past, it’s the indomitable Leah Purcell.
'We all know Henry Lawson’s story of the Drover’s Wife. Her stoic silhouette against an unforgiving landscape, her staring down of the serpent; it’s the frontier myth captured in a few pages. In Leah’s new play the old story gets a very fresh rewrite. Once again the Drover’s Wife is confronted by a threat in her yard, but now it’s a man. He’s bleeding, he’s got secrets, and he’s black. She knows there’s a fugitive wanted for killing whites, and the district is thick with troopers, but something’s holding the Drover’s Wife back from turning this fella in…
'A taut thriller of our pioneering past, with a black sting to the tail, The Drover’s Wife reaches from our nation’s infancy into our complicated present. And best of all, Leah’s playing the Wife herself.' (Publication summary)
'In an isolated farmhouse, outside a small country town – a woman and her daughters have just killed their abusive man of the house. Known throughout the district as a cur and a dog, the women set about disposing of his body. However their task becomes fraught when several of the local villagers choose to pay a visit and grow suspicious at their behaviour – will their act become exposed before they can dispose of the body? A lyrical exploration of family, violence and revenge against a backdrop of a brutal, rural Australian landscape.' (Play summary)
'One hundred years ago, in 1914, a bullet from an assassin’s gun in Sarajevo sparked a war that ignited the globe. Patriotic young men all over the world lined up to join the fight – including hundreds of Indigenous Australians.
Shunned and downtrodden in their own country – and in fact banned by their own government from serving in the military – Aboriginal men stepped up to enlist. Undaunted, these bold souls took up arms to defend the free world in its time of greatest need. For them, facing the horror of war on a Gallipoli beach was an escape from the shackles of racism at home, at a time when Aboriginal people stood by, segregated, unable to vote, unable to act as their children were ripped from them. When the survivors came back from the war, there was no heroes’ welcome – just a shrug, and a return to drudgery and oppression.
Black Diggers is the story of these men – a story of honour and sacrifice that has been covered up and almost forgotten.
Directed by Wesley Enoch and written by Tom Wright, Black Diggers is the culmination of painstaking research into the lives and deaths of the thousand or so Indigenous soldiers who fought for the British Commonwealth in World War I.
Grand in scale and scope, it draws from in-depth interviews with the families of black Diggers who heard the call to arms from all over Australia, as well as conversations with veterans, historians and academics. Young men will step from the blank pages of history to share their compelling stories – and after the curtain falls, we will finally remember them.' (Source: QPAC 'What's On', September 2014)
'250 kilometres apart, two 16 year-old girls walk into two police stations to make a confession. A confession of a crime so unimaginable that the full extent of what they are saying only slowly dawns on the police. And in their hometown, nothing will ever be the same again. What drives two teenage girls to commit a crime that has shaken their home town to the core and shocked the entire country?
Exploring the rural subculture of drugs, alcohol and the alienation of today's youth, Reg Cribb weaves a disquieting tale of crime and inhumanity.' Source: www.bsstc.com.au/ (sighted 14/10/2011).
'Sadie and Ed meet Martin and Chloe at a holiday resort and instantly hit it off, despite coming from completely different worlds. When Martin saves Ed's life, everyone knows the debt can never be properly repaid. But Ed is rich and generous, and Martin and Chloe have a need so great it seems divine providence that the two couples should have found each other. So, given time to think, they return to make their wish - but surely it's a wish nobody could possibly grant?'
Source: Melbourne Theatre Company website, www.mtc.com.au (sighted: 29/09/2010)Joint winner with Vanessa Bates's 'Porn.Cake'.
'Citizens is set at the dividing wall of an unspecified war-torn country where a series of unconnected exchanges between ordinary people transpire as they go about their day-to-day lives. A picture of life is revealed in the fragments of the interchanges between vulnerable people where the human spirit is carefully probed and laid bare.
'Soldiers is set in an air force hangar in Sydney, where family members gather to receive the bodies of their sons, brothers, husbands and friends lost in a conflict that they may not have supported.'
Source: Production blurbs (Kings Cross Theatre production).
'A terrified 12-year-old boy finds himself separated from his family in the unfamiliar streets of a war torn city. Dodging sniper fire and mortar shells he takes refuge in a bombed-out house and in the total blackness his bravado crumbles into tears.
'Into his life steps Anna - older, street smart and scornful of his crying. As a way of shutting the boy up, she starts to tell him a story that she vaguely remembers from her own childhood. And so begins a journey into the shifting, shimmering world of ogres, princes, singing bones, foolish lads and wolf-mothers.'
Source: Riverside Parramatta website, http://www.riversideparramatta.com.au
'Forced to flee his family home in Goulburn, Shane ... suddenly finds himself in a strange suburb surrounded by prostitutes, bikies and junkies. The confused teenager is unsure of his sexuality, more unsure of how to find intimacy, and completely thrown by having to choose between laundry liquid and powder. But he soon meets two strangers - the very-Sydney Will who offers brotherhood, sex and something unexpected; and the beguiling Peter a 50-year-old gay man whose mother is dying in a nursing home.'
Source: http://www.theprogram.net.au/giveawaysSub.asp?id=371&state_id= (Sighted 09/02/2005)