Cirrus@Austlit

'Lovers on the highway, chased down by their past.

'Cole and Sky, a young couple, are driving in a classic car from the coast into the guts of the country. Cole’s father is on his deathbed and there are rumours Cole is set to inherit the earth after a life of aimlessness. They set out with unbridled enthusiasm for the road ahead; swept up in romantic dreaming and poetic ruminations amid the boundless plains. They knit new narratives for themselves; give themselves new names and identities in sync with their seemingly unanimous versions of utopia. Their newfound freedom is underscored by a long-forgotten mix tape buried deep in the glovebox, but out of the static following the final song, a pubescent voice cracks — a younger, angrier, more violent Cole and his teenage manifesto recorded to tape.

'Equal parts Mad Max: Fury Road, Thelma and Louise, and the classic films of the Ozploitation era, Horizon keeps who we are in the rear view mirror, whilst asking what it is we can see in the warping heat-distorted bitumen ahead. With a smack of Wolf Creek, a slap of Wake in Fright, and a firm grip on the true stories of those lost to the isolation of the outback, Horizon is a high-octane journey that’s over the limit, over heating and tearing right into the heart of Australia.' (Production summary)

'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.

'Winner of the 2018 Griffin Award, Prima Facie is an indictment of the Australian legal system’s failure to provide reliable pathways to justice for women in rape, sexual assault or harassment cases. It’s a work of fiction, but one that could have been ripped from the headlines of any paper, any day of the week, so common you could cry.

'Turning Sydney’s courts of law into a different kind of stage, Suzie Miller’s (Sunset Strip, Caress/Ache) taut, rapid-fire and gripping one-woman show exposes the shortcomings of a patriarchal justice system where it’s her word against his.

'Maybe we need a new system.'

Source: Griffin Theatre Company.

'Muriel Heslop is back! In this highly-anticipated world premiere, the iconic Australian film is set to become an equally iconic laugh-out-loud musical.

'Stuck in a dead-end life in Porpoise Spit, Muriel dreams of the perfect wedding – the white dress, the church, the attention. Unfortunately, there’s one thing missing. A groom. Following her dreams to Sydney, Muriel ends up with everything she ever wanted – a man, a fortune and a million Twitter followers. That’s when things start to go really wrong.

'The film’s original writer-director PJ Hogan has updated his screenplay into a dazzling new stage show, bringing the story into the present but keeping all the irreverence and naughtiness of the film along with its dark edge.' (Production summary)

'If anyone can write a full-throttle drama of our colonial past, it’s the indomitable Leah Purcell.

'We all know Henry Lawson’s story of the Drover’s Wife. Her stoic silhouette against an unforgiving landscape, her staring down of the serpent; it’s the frontier myth captured in a few pages. In Leah’s new play the old story gets a very fresh rewrite. Once again the Drover’s Wife is confronted by a threat in her yard, but now it’s a man. He’s bleeding, he’s got secrets, and he’s black. She knows there’s a fugitive wanted for killing whites, and the district is thick with troopers, but something’s holding the Drover’s Wife back from turning this fella in…

'A taut thriller of our pioneering past, with a black sting to the tail, The Drover’s Wife reaches from our nation’s infancy into our complicated present. And best of all, Leah’s playing the Wife herself.' (Publication summary)