Cirrus@Austlit

'Cliff’s life is in the toilet: he’s lost his wife, his job, and he’s back living in Bundaberg. Struggling to reconcile with his daughter (and his mother), Cliff navigates family dramas, local politics, and a potential murder case … all without a car.

'Elliott’s doing alright: she’s finishing Year 12, looking after her grandmother, and running the family newsagent … until her estranged father turns up out of the blue, the mayor turns up dead, and the papers don’t turn up at all.

'Of all the rum joints in all the world, it had to happen in Bundy.

'Combining a suspicious death, strained family relationships, generational change, and a reckoning of what being Australian actually means – Death in a Statesman is funny, smart, and wears the hell out of a fedora.'  (Publication summary)

'Where were you the night of the 2015 NRL Grand Final? The night when long-time underdogs the North Queensland Cowboys won in an all-QLD nail-biter that changed the game, and the state, forever. For one family of Cowboys diehards, their whole lives have led up to this moment.

'Jess was born on the night of the North Queensland Cowboys’ first game in Townsville. Daughter of Foley Shield legend Frank ‘Black Flash’ Wright, she grew up as a footy fanatic with big dreams, silky skills and boundless ambition to play. But as a girl in a male-dominated sport, she faces more than her fair share of knockbacks, just like the luckless Cowboys. Despite their relentless string of losses, Jess still dares to believe in her team, and herself.'

Source: Queensland Theatre Company.

'We That Are Left is a journey into the lives of local people, from Pittsworth, Queensland, during the years of World War I. It is told from the perspective of Rosie Sticklen, a young girl, frustrated that she can’t join up to fight with her brothers, Henry and Jo, and Dad, Alf. She and her mother Abby bitterly disagree about whether to adapt to their new situation. Abby is content to sing with the choir, led by the indomitable, domineering Mrs Bedford, and to clean the house mindlessly, not even opening the men’s letters, in denial of being left behind, in a world of stopped time; Rosie, however, wants to farm the land if she can’t go with the men.

'Rosie’s frustrations at home and desire to help turn her to nursing and head to France to tend the troops. Rosie knows she must return to the farm, and her mother to face life which will never be the same again. Rosie must make her own decisions about choosing the life her family want for her and a life that she wants for herself with this new confidence brought about from the war.

'The Sticklen family is at the heart of the play; but We That Are Left is a title which encompasses both them and their descendants in our modern times. Rosie’s Great-Granddaughter, Emma, is threaded through the story; she has inherited the farm, and, expecting her first child, seeks to understand the baby’s legacy. The play ends with Emma’s discovery that, for her, the connection to the Anzacs and to those left behind lies within our shared humanity, within people, as long as we remember.'

Source: USQ ArtsWorx (http://artsworx.usq.edu.au/events/we-that-are-left/).

'A funny and gritty play about growing up in a mining town, dealing with change and serving fried chicken ...

Jenny lives in a small Queensland mining town: she’s almost finished Grade Ten and is struggling to balance school, her part-time jobs, her wayward sister, her relationships, and everyone’s expectations. When the charismatic Seb flies into town, Jenny’s balancing act is thrown into chaos and her world threatens to collapse around her.

Fly-In Fly-Out looks at how families and communities deal with upheaval and how we strive to adapt. The play examines universal themes through the prism of the mining boom and the influx of fly-in fly-out workers into a small community.

'From the makers of the critically acclaimed Snagged and Ithaca Road, Fly-In Fly-Out has been developed in consultation with communities and young people throughout Central Queensland. The show is a must see for audiences of all ages and begins the conversation about what communities can do to develop resilience in the face of change.' (Publication summary)