After a long and successful marriage, Pam and Don are still very much in love. But Pam is ill and has to make a heartbreaking decision that will transform both their lives. She does so in the only way she knows how – quickly, pragmatically, and resolutely. Don behaves in the only way he knows how – struggling to keep up but desperate not to lose touch.

And No More Shall We Part follows Pam and Don’s halting, humorous and devastating attempt at the impossible – to begin to say goodbye to each other after a lifetime together.

To read an extract of the play click on this PDF

Funny, disturbing and bittersweet, The Call is an enthralling drama about a young man looking to escape a suburban life.

Gary stares into the eyes of a chook. After laying twenty thousand eggs and spending an entire life inside a tiny cage, she’s facing the chop.

Gary has had a confined life too—most of it spent looking for girls, stealing cars and wagging school. Now it’s become a succession of dull, dirty and dangerous jobs.

But Gary yearns for something that can make sense of life for him—give it meaning. He hears the call. One that roars inside him. A call of the wild, a call to arms, a call to prayer, a call of adventure...

‘A powerful piece of Australian theatre...The Call brilliantly explores what life is like in small country towns across rural Australia.’ Australian Stage

To read an extract of the play click on this PDF

Photographer-storyteller William Yang returns to a motherland he never knew - the Australian-born Chinese a stranger in his homeland

Yang takes his audiences from the streets of Beijing, where electronics superstores jostle with echoes of the Cultural Revolution and the Ming Dynasty, to the sacred mountain Huang Shan, a must-climb for every Chinese pilgrim-tourist; from a wild night in a Mongolian herdsman’s hut, to the apartments of ordinary Chinese, a few months after the Tiananmen Square incident.

Part social documentary, part personal observation, China creates a meditative space, a journey of reflection on the meaning of culture and belonging, for performer and audience alike.

‘Yang's China offers fascinating insights and paradoxes… China is a polished, wryly observed and typically low-key monologue’  Bryce Hallet, SMH

'A wast, beautiful, humorous story' Daily Telegraph

Read an extract of China (pdf)

‘Tragedy is an incident, comedy will be our landscape.’

Somewhere in a busy city, a Man wakes to discover he has forgotten his life. He has no memory of the past and no clear sense of the present.

He is concussed. Or so he is told by a doctor—who may also be his partner. Now there are flashes of something. Hunger, mourning, sexual appetite... Bob Dylan? But why isn’t he in hospital? And what of the voices, the Blackberry, the brothers? The hammer?

A comedy with attitude, Concussion explodes a simple conceit and scatters its achingly funny and filthy tales of the city like shrapnel.

‘Mueller is surely one of the most intelligent, formally adventurous and emotionally brave playwrights now writing in this country.’ Theatre Notes

To read an extract go to extract (pdf)

The wheels in the gravel driveway. The door. Him coming home. I was waiting because I hadn't seen him in a long time. I hadn't been alone with him in so long…

After a decade under siege a city has finally fallen. But ten years of rage have taken their toll. For an officer returning from this epic overseas campaign, it is time to put the horrors of battle behind him, and to take back his place at the family table.

For the officer's wife, it is time to take her revenge…
   
Tom Holloway's ‘epic-in-miniature' is inspired by Aeschylus' Agamemnon and a truly contemporary Australian landscape — with breathtaking results.

'The excellent cast rises to the script's intricate rhythms and rapid-fire assaults.' SMH

For our author interview with Tom Holloway, click here.

For an extract of Don't Say the Words (pdf), click here.
 

A holiday. A time for conversation and distraction, a time to wind down and to dream... 

In a moment of relaxation and quiet reflection, two men unwittingly engage. Spontaneous, unaffected and thrillingly real, innocent discussion becomes an exploration of private fantasy, hidden anxiety, personal mythology and the most inexplicable behaviour.

What lies behind the most unconscious gesture? How do power struggles play out in the politest of exchanges? Is there hope in the blank spaces between strangers?

An extraordinary blend of performance, humour, sound, video installation and baroque song, Holiday is theatre at its most inspirational.

‘Lucid, gentle, funny and unexpectedly moving, it remains one of the shows of the year.’ The Australian

'Holiday is great theatre—funny and light as air on the surface, with philosophical depths that will niggle you long after you leave.' The Age

'... one of the most fascinating productions in recent memory. It's almost like one of those 3D magic eye pictures—a seemingly chaotic, random array of dialogue which suddenly, powerfully gains a depth that is almost shocking in its richness. This is contemporary performance of the highest calibre, wrought with deft skill and tempered with a discerning, unwavering hand.' RealTime Magazine

Read an extract of Holiday (pdf).

For our author interview with Raimondo Cortese, click here.

The play that launched Michael Gow’s playwriting career returns to the stage

In blazing heat, a stolen Mini hurtles towards Sydney. Inside, three unstable teenagers from the country – Snake, Aspro and Dean – plan a future that will begin when they collect Aspro's accident compo from the Department. 

Joined by Donald, an opera fanatic desperate for a change of scene, they travel to the city to take up residence in ‘the largest block of flats in the Southern Hemisphere'.  
 
As bush fires rage on the edge of the city, they meet Desiree, a young girl from downstairs with apocalyptic predictions.
 
Sparks fly. Tensions escalate. Twilight approaches…

'The Kid resounds strongly in 2008, thanks to the mythic quality of Gow's writing and director Tom Healey's edgy, fiercely-acted production.' Sun Herald

Read an extract of The Kid (pdf)

It is the calm and silent water that drowns a man.
Ashanti proverb

Three years ago, Sal was an award-winning investigative journalist. Uncovering government corruption and public scandals she was forever on the front line. But her son's death robbed Sal of her willingness to engage. Increasingly reclusive, she opted out, choosing to live in a borrowed beach house as she struggles to come to terms with her loss.

When her teenage daughter brings home a Japanese surfer to stay, Sal finds herself confronted with a sense of danger that was once so vital to her life.

King Tide is a surprising story of hope, emerging out of the love and vulnerability of two very different people.

REVIEWS:

‘Katherine Thomson ... affirms her position as a potent bellwether of what ails us.’  'Stage Noise

‘No playwright in this country does human dramas about political issues better than Thomson.’ Australian

‘Katherine Thomson's wonderful play is about the collision of world views both generational and political’ SMH

On the eve of the presentation of the memorial to the public, a blind woman comes out of the rain and into the architect’s studio. She is the mother of one of the victims and she demands to be heard. Over the next hour the two women do battle over what it means to memorialise the dead, what it means to be a mother and what it means to believe.

Like A Fishbone is both a psychological thriller and a haunting puzzle about faith, compassion and the danger of telling the truth.

'Anthony Weigh’s play is a gem; simple but deep.'  The Times

To read an extract of Like A Fishbone go to this PDF