At the doorway between innocence and maturity, simply getting through the day can feel like an eternity—especially when loneliness, grief and abuse of power get in the way. Shortlisted for the Rodney Seaborn Playwrights Award and longlisted for the Griffin Award, sitting, screaming is a raw and gripping exploration of how vulnerable young people slip through the cracks. 

In a run-down church hall with an OWL (Older, Wiser Lesbian) at the helm, the ragtag choir navigate love, loss and trying to agree on song choices. But despite their best intentions, they find that harmony comes at a price.

Hannah had her trip all planned out. Travel to Korea. Visit her birth mother. Spend a golden summer creating precious memories. But when she arrives in Seoul reality hits hard. Her Umma seems more interested in stacking shelves and re-arranging the garden gnome display than connecting with her long-lost Australian daughter.

Phoenix and Nel have superpowers. They take a lot of care and do a lot of good. But when celebrity chef Rae arrives at one of their weekly support meetings, she turns their world upside down. As they transform from stealth crusaders to global superstars, their powers ramp up exponentially. It's amazing! Until it isn't.

There's something a little strange about Else, like the way she sometimes flies around the room. Thank God for the exorcist.

On the eve of July 4th, in the Hamptons, Elena is preparing to throw a party to celebrate her husband, Henry, as he unveils his latest architectural masterpiece. But their already vulnerable union is shattered by the unexpected arrival of a former student of Henry's, Mathilde, with whom he shared an intimate connection…

The Black Woman of Gippsland is a poetic and thrilling tale about the myths and half-truths that surround the figure of a 'white woman' said to have lived among the Gunaikurnai people of Gippsland in the 1840s.

A gripping new play from S. Shakthidharan (Counting and Cracking, The Jungle and the Sea) co-directed by Hannah Goodwin (The Curious Incident of the Dog in the Night-time, Never Closer), The Wrong Gods melds mother-and-daughter struggle with the economics of progress, asking, what are we worshipping? And what price will we pay?

Blackpool, 1976. The driest summer in two hundred years. The beaches are packed. The hotels are heaving. In the sweltering backstreets, far from the choc ices and donkey rides, the Webb Sisters are returning to their mother's run-down guest house, as she lies dying upstairs. When memories from their youth come flooding back, the sisters must confront their past and untangle a web of secrets, betrayals and profound emotional bonds.

Veda and Bea haven't spoken since their dad's funeral; not since Bea scratched something obscene into the bonnet of Veda's cherished convertible. But one wet Tuesday morning, Veda shows up out of the blue on Bea's doorstep, determined to break down the walls built by so many things left unsaid.