Cirrus@Austlit

'Enter the eccentric, charming and mischievous world of creator Nicola Gunn as she navigates the complexities of trying to be a better person in this critically acclaimed new work.

'Are you willing to take part in conflict in order to transform and change the future for the better?

'An incident lasting all of ten minutes is told from three different points of view: a woman is out running and sees a man throwing stones at a sitting duck. What happens next leaves the woman coming to terms with the event and its consequences.

'It dissects the excruciating realms of human behavior in an attempt to navigate the moral and ethical complexities of becoming a better person.

'As acclaimed writer and performer Nicola Gunn recreates scenarios on stage, she will attempt to dissect our motivations for conflict and ask the big question: why can’t we all just get along?' (Production summary)

'Vaselina lives the quiet life, working as a receptionist in a very tall apartment block. But all that changes when she is forced to confront a terrifying resident who plays her music far too loudly and eats jelly babies with her mouth open.

'Who is this mysterious neighbour? Will she ever turn the music down? And what exactly is she planning for dinner?'

Source: Windmill Theatre.

'What kind of King would you be? A naïve boy raised by goatherds is discovered to be heir to the kingdom. Treasures and privileges are laid at his feet, but at what cost to others?'

Source: Slingsby Productions.

'Come Away with Me to the End of the World / invites you to listen in on a conversation between three people as they shape and reshape their physical and emotional selves.

'This self-imposed quest takes them through shifting landscapes and climates, snow-topped mountain peaks and erupting volcanoes.

'Structured as a series of intimate conversations, ranging from the prosaic to the beautiful, this production reaffirms Ranters Theatre as the masters of voyeuristic theatre. As we eavesdrop on these three figures, moments of eccentric dance and song erupt, and the disparity between their actual lives and their dreamed selves resonates intensely.

'Designed by visual artist Callum Morton, this surreal journey demands that you get up, tiptoe to the edge of your own world / and peer over the edge.'

Source: Malthouse Theatre.

'Part chamber concert, part performance work, Endings explores the experiences that cluster around death, dying and the afterlife. This immersive work by Tamara Saulwick features the voice of Paddy Mann (Grand Salvo), an electro acoustic score by Peter Knight and design by Ben Cobham (bluebottle).' (Production summary)

'"Ganesh Versus the Third Reich' is a serious investigation into the issues about cultural appropriation: it explores who has the authority to tell stories, and how - via symbols, rituals and the like - stories can be told.

Back to Back Theatre is a theatre company with an ensemble of actors with disabilities at its core. In presenting "Ganesh Versus the Third Reich", Back to Back is seeking, in part , to examine how individuals who are perceived to be outsiders (of all kinds), can comment and respond to, and so by extension, be more strongly integrated into a pluralistic society. Through our work, we are seeking to engender dialogue and tolerance. In our opinion, Ganesh is treated with great respect in the work. His integrity and status is never threatened. He is all powerful.

Ganesh is the hero of the work and has an embodiment of goodness and greatness. The representation of Ganesh is not ridiculed or engaged in violent action in the performance. In developing the show, Back to Back Theatre has researched how Ganesh and other deities have been represented in cinema, theatre, graphic novels and dance from the 1960s to the present.

We consider the representation of Ganesh in the work is within the parameters of the cannon that currently exists. We would like to assure members of the Hindu community that it is not our intent to portray Ganesh in a way that is disrespectful. We regret any inadvertent concern or apprehension about the play which may have arisen prior to its performance. Source: www.malthousetheatre.com.au/ (Sighted 04/10/2011).

'Uncle Jack Charles is an Australian legend: veteran actor, musician, Koori elder and activist, but for a good portion of his nearly 70 years he has also been an addict, a thief and a regular in Victoria’s prisons.'

'From Stolen Generation to Koori theatre in the 70s, from film sets to Her Majesty’s prisons, JACK CHARLES V THE CROWN runs the gamut of a life lived to its utmost. Charles’ unswerving optimism transforms this tale of addiction, crime and doing time into a kind of vagabond’s progress – a map of the traps of dispossession and a guide to reaching the age of grey-haired wisdom.'

'This fleet-footed, light-fingered one-man show is a theatrical delight and a celebration of Black Australia’s dogged refusal to give up on getting on.' (Source: Ilbijerri Theatre Company website)

'Inside an enchanting travelling theatre tent, discover a storyteller who shares a timeless tale. Cheeseboy’s home planet has been reduced to a bubbling fondue. Where are his parents? How did he become marooned on earth? Gypsies have given him a home, of sorts, but Cheeseboy is tugged this way and that by tides of strange longings and stranger powers. Imagine Oedipus meeting Edward Scissorhands, over a dish of exotic curds. With ingeniously simple lights and mirrors and set to lush original music by Quincy Grant, The Tragical Life of Cheeseboy will transport you to a fantastic world.'

Source: Slingsby Productions.