Cirrus@Austlit

'This is angry.

'This is personal.

'This is not what you think.

'Playwright Elena Carapetis (The Gods Of Strangers, Gorgon) brings the first heroine of western drama raging into the 21st century in this cheeky, anarchic and subverted take on one of the world’s most revered classic plays.

'Carapetis takes us from Ancient Greece to the modern-day in a kaleidoscopic collection of vignettes that will make your head spin and leave your jaw on the floor. This is a rejection of the patriarchy, a love letter to girls and pop princesses, and a tribute to every Antigone reincarnated, from Malala to Emma to AOC to Greta.'

Source: State Theatre Company of South Australia.

When a stranger comes to your door, you let them in. They might be a god in disguise.

'It’s 1947 and two women in Port Pirie answer knocks at their doors. At one, a young Greek sailor who has jumped ship, looking for refuge. At the other, a man seeking a new life after being released from an internment camp for suspected fascists and Nazi sympathisers. But what do they really bring with them? And what exactly are they going to face when walking through these doors to a new life?'

Source: State Theatre Company of South Australia.

'Two young women meet face to face for the first time across the bed of a dying man. Strangers to each other but bonded by blood and grief. Sisters. They break the cold silence of the hospital room to start a difficult conversation. About the past and secrets. About the women who were their mothers. And about why this man, their father, abandoned one family to make another. When the past is dying and can’t say sorry, how do you move on?

Sista Girl is an exploration of the relationship between Aboriginal and non-Aboriginal Australians, via the story of two women who share a white father. Co-written by Elena Carapetis (Gorgon) and Alexis West (Echoes …. of Knowing Home), the play will speak directly to audiences about questions of identity, grief and the complex nature of family.' (Production summary)

'Meet Lee and Maz. Best mates, invulnerable. It’s summer, their last year of school and they are going to go off. They are young and beautiful, tanned and strong. On one fateful night they are drunk and high, driving on the highway. Life shatters and only one is left to pick up the pieces.

'Meet Lola. She looks exactly like Maz. Makes sense; she’s his sister. His twin. In the face of tragedy she’s looking for answers.

'A theatrical thrill ride, Gorgon looks at the tricky dividing line between friendship and love, anger and grief. With a perceptive and sympathetic ear, it charts one of the most difficult moments of transition in life, from late adolescence to adulthood.' (Production summary)

'The Good Son, the events of which unfold, as in Greek Tragedy, in a single location in real time with no extra narrative strands (the three unities), centres on the relationship — a nominal marriage, in fact — between Frank and his mother Meda . Frank is too old to still be living at home and is drifting, repressed and unhappy, towards 40. He’s a barman (‘it’s an honest living’, he demurs early in the play when we can’t yet see the seed of truth in this statement). Meda, divorced and bitter, is a problem gambler. She relies on Frank both financially and psychologically (‘what’s the difference between a Greek mother and a pit bull?’ the joke goes. ‘A pit bull eventually lets you go’).' (Source: Daily Review, April, 2015)