'A debt collector, a drag queen, a rogue chemist and a manic depressive walk into a pub…
'THIS MUCH IS TRUE continues the story of Lewis from Summer of the Aliens and Cosi. Now he’s older, a writer and lives in an inner city suburb filled with public housing, the underclass and characters who could only exist in such a place.
'He attends the 150 year old hotel, The Rising Sun, where he mixes with a core of customers, including an ice chemist, a once famous drag queen, a violent debt collector, a con man, a manic depressive and a fixer.
'These stories are true.' (Production summary)
World premiere at The Old Fitz Theatre Woolloomooloo, Sydney. Presented by Red Line Productions : 12th July – 12th August.
Director: Toby Schmitz.
Assistant Director: Andrew Henry.
Set Designer: Anna Gardiner.
Lighting Designer: Matt Cox.
Costume Designer: Martelle Hunt.
Sound Designer: Jed Silver.
Cast: Septimus Caton, Joanna Downing, Danny Adcock, Justin Stewart Cotta, Robin Goldsworthy, Alan Dukes, Martin Jacobs, and Ashley Lyons.
Presented by Griffin Theatre Company, 9 February - 21 April 2024.
Director: Declan Greene.
Associate Director: Daley Rangi.
Set Designer: Jeremy Allen.
Costume Designer: Melanie Liertz.
Lighting Designer: Kelsey Lee.
Composer & Sound Designer: Daniel Herten.
Consultant, Disability: Christopher Bryant.
Consultant, Inclusion: Bayley Turner.
Cast: Thomas Campbell, Paul Capsis, Philip Lynch, and Nikki Viveca.
Summer of the Aliens
1992
Paddington
:
Currency Press
,
1992
Z468336
1992
single work
drama
(taught in 1 units)
'It is 1962 and the world is worried about the Cuban missile crisis, except for Lewis, a youth on the cusp of manhood, growing up in a Melbourne housing commission suburb. He is preoccupied by flying saucer, much to the disgust of his friend Brian who can think only of losing his virginity. Lewis finds a natural soulmate in local tom-boy, Dulcie, who has her own confusions about approaching womanhood. And then out of nowhere Lewis's errant father returns to stay, as if he had never gone' (Currency Press).
Although the play largely focuses on adolescent issues, it is meant for an adult audience. Among the themes explored are sexuality, gender, prejudice, cultural identity and the relationship between memory and personal identity.
Cosi
Sydney
:
Currency Press
Belvoir Street Theatre
,
1992
Z459111
1992
single work
musical theatre
(taught in 8 units)
Play with music.
Loosely based on Nowra's own experience at producing a play (Trial by Jury) at Melbourne's Plenty Mental Home, Cosi has become a favourite with theatre companies and audiences alike since it premiered in 1992. Full of theatrical jokes and roles rich with Jonsonian humour, the play's use of a play rehearsal device also provokes images of the not-too dissimilar 'families' that come together in the professional theatre. Indeed, Nowra notes in the premiere season's programme notes that 'like the actual events of those days [the play] is, I hope, full of comedy and affection. Real madness and angst only occurred when I worked with professional actors'.
Set in 1971, Cosi takes an affectionate look at madness and mayhem in a world where institutions can be less limiting than ideology. The narrative is played out two locations, a mental institution and a suburban backyard. , Fresh from university, Lewis (a play on Louis) arrives to direct a play with the inmates, but is persuaded by Roy to stage his favourite opera, Cosi Fan Tutte. Lewis' problems don't end, however, with the fact that the other inmates are neither opera singers nor Italian-speakers. There is Ruth, troubled by the concept of a real illusion ; Zac, who insists on playing Wagner ; Doug, who is committed to the closed ward ; not to mention the sexual advances by Cherry and Julie. Lewis's world is no less complicated at home, where he has to contend with escaping pigs, exploding beer bottles and the pretensions of his politically correct friends.
The music incorporated into the narrative includes: 'Wild Thing' (by The Troggs), various songs from Cosi Fan Tutte, 'Purple Haze' (Jimmy Hendrix) 'Candy Says' (a Velvet Underground song, pre-recorded), and Wagner's 'The Ride Of The Valkyries'.
'Louis Nowra’s latest play, his first in ten years because apparently and appallingly no major company in Australia has asked him for one, is the third in his semi-autobiographical Lewis trilogy. In Summer of the Aliens (1992), the young Lewis, growing up in housing-commission Melbourne, has to find a way to come to terms with the unpredictable adults who surround him and to deal with his feelings for his coevals. Così (1992) finds a slightly older Lewis attempting to introduce Mozart into the lives of an even more extreme group in a mental hospital, while staggering through a dying relationship. In This Much Is True, a more mature Lewis, now a writer recuperating from a divorce, as much spectator as participant, hangs out in the bar of The Rising Sun, a Woolloomooloo pub not entirely dissimilar to The Old Fitzroy in which the play is being presented. This Much Is True can also be seen as the third piece in another Nowra trilogy, an addendum to his recent love letters to the neighbourhood; King’s Cross (2013) and Woolloomooloo (2017).' (Introduction)
'To celebrate the year’s memorable plays, films, concerts, operas, ballets, and exhibitions, we invited twenty-six critics and arts professionals to nominate some personal favourites.' (Introduction)
'To celebrate the year’s memorable plays, films, concerts, operas, ballets, and exhibitions, we invited twenty-six critics and arts professionals to nominate some personal favourites.' (Introduction)
'Louis Nowra’s latest play, his first in ten years because apparently and appallingly no major company in Australia has asked him for one, is the third in his semi-autobiographical Lewis trilogy. In Summer of the Aliens (1992), the young Lewis, growing up in housing-commission Melbourne, has to find a way to come to terms with the unpredictable adults who surround him and to deal with his feelings for his coevals. Così (1992) finds a slightly older Lewis attempting to introduce Mozart into the lives of an even more extreme group in a mental hospital, while staggering through a dying relationship. In This Much Is True, a more mature Lewis, now a writer recuperating from a divorce, as much spectator as participant, hangs out in the bar of The Rising Sun, a Woolloomooloo pub not entirely dissimilar to The Old Fitzroy in which the play is being presented. This Much Is True can also be seen as the third piece in another Nowra trilogy, an addendum to his recent love letters to the neighbourhood; King’s Cross (2013) and Woolloomooloo (2017).' (Introduction)
