'Why do we to suffer?
'There is only one answer: MAN.
'We are being robbed of everything.
'One of the most brutal stories ever told. Written by one of the most incisive and subversive writers of the twentieth century.
'Adapted by The Bloomshed, George Orwell’s fierce critique of power is funnelled through a contemporary context that sees political oppression, extremism, misinformation and food production erupt into an all-out assault on our contemporary political landscape. ANIMAL FARM is a high-octane mess of punk-protest, political allegory and epic theatre with a rhythm beaten out on abandoned grain silos.
'If you want to make an omelette, you’ve got to crack some eggs.'
Source: Theatre Works.
'Adam and Eve are really digging Paradise. They’re happy, super happy in their airtight bubbleland. There’s no judgement here. No shame. It’s the perfect place for some relentless fornication.
'But nothing this good lasts long.
'Satan’s sick of the cherubs getting stuck in the ventilation shafts. He tries to complain but God chucks him out. In hell, a napalm covered wonderland, Satan hatches a master plan. And so the fall begins.
'PARADISE LOST is a satirical adaptation about the narcissism of creation and our fading hope for the future.
'Bloomshed creates cutting edge, political satire, energising classic texts through physical comedy and outrageous dance breaks. PARADISE LOST is a whirlwind ride through creation: it took God seven days, it’ll take us just under an hour.'
Source: Publisher's blurb.
with interactive place-based work Gene Tree: Listen. Now. Again.'no matter the cost, no matter the consequence.
'“He’d been shoving her around for a while now. I knew that. Sometimes she’d tell me, sometimes not, but I could always tell when they’d had a blue. But she was my girl and sometimes things were better left unsaid.”
'Well-meaning, teenage misfit Millie comes home from work one day to discover her old childhood friend Annie bruised and bloody on her doorstep. Millie picks her up, dusts her off and puts her in the bath. Lying in bed together, the two reminisce on a childhood that occurred a lifetime ago and recall an old promise to care for one other “until the end of the earth, no matter the cost and no matter the consequence.” As Annie sleeps, Millie vows to honour her friend in the one way that seems fair; revenge.
'Set in the outskirts of metropolitan Melbourne, KEROSENE is a relentless and unsympathetic character study exploring the complex, ugly and dangerous symptoms of love. It is a homage to the blind loyalty that accompanies lifelong friendships and the realities of what it means to grow up young, quiet and forgotten in modern day Australia.'
Source: Theatre Works.
'What of the women and girls who defy gender demarcations, who transgress the boundaries and restraints of social order and expectation?
'When a girl spits, or swears, or screams, or shouts, or pulls down her pants to moon someone from a car, or she laughs too loudly, or she’s too shrill, or she pulls up her t-shirt and flashes her tits, or she fights, really fights, head butts and with her fists, or she fucks too much or cuts her hair too short, and wears too much lipstick or none at all, or tells everyone she’s got a dick and she’s not a girl at all, all we want to do with this girl is lock her up and throw away the key. Out of control girls – angry, nasty girls – are a sight to behold. They’re terrifying, electrifying, they’re everything girls shouldn’t be, and we hate them.
'This is a work about these girls.
'Their names are Billy, Bobby and Sam.
'There’s not a single moment when the three young women transcend their ugliness. There’s no indication of a better, or in fact any, inner life. They don’t believe in anything. They’re mean, foul-mouthed, downtrodden, hard-bitten, utterly damaged women. They’re neither salt of the earth nor sexy. They love no one and no one loves them. They believe the world is shit, that their lives are shit, that they are shit.' (Production summary)
'One night, during a performance of "Elektra", an actress falls silent, and from then on, refuses to speak. The nurse assigned to her recovery, takes her to a remote seaside cottage. Very quickly, this safe house transforms into a site of terror and isolation, as patient and nurse grow dangerously close. A nightmarish poem about identity, intimacy and the limits of the spoken word.'
Source: http://www.theatreworks.org.au/ (Sighted 24/05/2012).
