Mark Evans' stage play Bleak Expectations is a hilarious, chaotic caper, featuring dastardly villains, preposterous names, pulse-quickening romances, heart-rending death scenes, and definitely, probably, hopefully a happy ending.

A Little Life follows the complex relationships of four college friends in New York City: Willem, an actor; Malcolm, an architect; JB, an artist; and, at the centre of their group, Jude, a lawyer. Over the decades, their relationships deepen and darken, changed by ambition, addiction and pride. Yet their greatest challenge is Jude himself, whose secrets – and shame – define not just his own life, but that of his friends as well.

A funny, thoughtful, horrific and remarkable story of love, power, friendship, betrayal and every emotion in between. Frankenstein is a larger-than-life (and death) production celebrating and unleashing the monster in all of us. A visceral piece of theatre that grabs at your heart and soul and never lets go. 

Gareth Farr's play Biscuits for Breakfast is a tender, heartfelt drama about families – the ones we inherit and the ones we create – and the struggle to survive when times get tough.

Summer 1860, an elegant country house, a young boy is found dead in an outside privy. Over twenty years later, still haunted by the case, Jonathan Whicher from Scotland Yard visits the murderer. 

Boyd has been walking a tightrope for years—balancing responsibilities to Land and People with the simple business of making a living. But there's something happening, he can sniff it in the wind. Every year more and more folk are showing up claiming to be palawa too. No-one's heard of them until now… Where has this missing mob been all these years? Are they legit? Or are they 'tick-a-box'? Who decides? And how?

A country town. A festival. A local tragedy. This tale of good days, bad days and everything in between catapults us into the heart of this little town where everyone knows everyone, and where Ethan is hit by his past as Meg struggles with the present.

When Alana discovers the dress that her mother wore to her pre-wedding meeting with Reverend Ted at the Wayside Chapel, she makes her own vow: to seek out stories of religious rebellion in Australia during the seventies. What unfolds is her excavation of layers of family history, buried under the pressures of conservative religious doctrine, racial segregation and class warfare.

Tessa is a criminal lawyer at the top of her game who knows the law permits no room for emotion. To win, you just need to believe in the rules. And Tessa loves to win, even when defending clients accused of sexual assault. Her court-ordained duty trumps her feminism. But when she finds herself on the other side of the bar, Tessa is forced into the shadows of doubt she’s so ruthlessly cast over other women.

Katherine Moar's captivating debut play Farm Hall dramatises the true story recorded inside the bugged walls of the actual Farm Hall between July 1945 and January 1946.