Cirrus@Austlit

'Omar, a first-generation Lebanese Muslim Australian, is in and out of foster homes. Hungry for a warm bed and determined not to return to a life on the streets, he reluctantly agrees to be placed with 80-year-old Dawn. His best friend Ahmed has been rejected by his family for being gay and now lives under a bridge, working the local beats as a sex-worker. As Ahmed’s mental health deteriorates, Omar is determined to forge a better life for them both.

'Unflinching and unapologetic, James Elazzi paints a searing portrait of culture, sexuality and isolation. In a howl of rage and love he asks: Where do we find refuge when the world seems to have forgotten us?'

Source: Apocalypse Theatre Company.

 'A figure emerges on the horizon. The Nullarbor? Maybe. He has crashed his car in the middle of god-knows-where, and has wandered out into the desert in a state of delirium. He stumbles across an old weatherboard house that backs onto the edge of the universe. In the vast red nothingness that precedes him, this house stands as a sanctuary. But it's already occupied.

'Haunting and urgent, CRUX is a play about asylum, and our basic human impulses to fight, protect and survive. Where do we draw the line between our individual and national identities? Are we still 'The Lucky Country'? Who are we, and what are we protecting?'

Source: Publisher's blurb.

'Permission to Spin is a funny till it’s not cage fight between art and ethics; a Trumpesque allegory about men that carry their school-yard bully techniques all the way to adulthood. This play is for everyone that thinks children’s music is torture.'

Source: Red Line Productions.

Asylum was a series of 'rapid-response' plays, designed in response to the Australian government's asylum-seeker policies. Playwrights were given fifteen days to script the play and one weekend of rehearsal with professional actors before the play was staged.