Cirrus@Austlit

'Seven senior law men, in fine suits, meet on the shores of a harbour to discuss the 11 large boats that have just arrived. Should they be welcomed to country or should these seven clan representatives of the Dharug nation, people from what became known as Sydney, combine to get rid of the unwelcome visitors? They take a vote – it must be unanimous – and one of them reckons the visitors mightn’t be all bad. This is a powerful, imaginative response to the beginnings of modern Australia.' (Production summary)

'A mother, in a time of war. She loses members of her family, one after the other – but she never loses hope. A rich, sweeping new play from the team that made the acclaimed Counting and Cracking. The Jungle and the Sea leans on two great pillars of literature – Antigone and the Mahābhārata – to forge a new story about surviving loss and the possibility of reconciliation.'

Source: Publisher's blurb.

'Oscar Wilde’s century-old moral fable, packed with witticisms, is as devilishly wicked today as on its debut.

'Seeing himself in a dazzling new portrait, an exquisite young man makes a Faustian wish for eternal youth. Dorian Gray throws himself into a life of wanton luxury drifting from the pampered salons of Victorian London to the darkest recesses of the capital, and revelling in the splendour of his beauty which remains forever golden. Meanwhile, the portrait – banished to an attic – becomes more and more grotesque.'

Source: Sydney Theatre Company.

'A great Australian novel. A landmark theatre event. A portrait of Sydney as it once was.

'The world premieres of The Harp in the South: Part One and The Harp in the South: Part Two are designed to be enjoyed as one unforgettable, epic theatrical experience.

'This major new work is one of the most ambitious productions STC has ever created. Celebrated playwright Kate Mulvany has adapted novelist Ruth Park’s revered Australian trilogy – Missus, The Harp in the South and Poor Man’s Orange – and spread these beloved stories across two equally ambitious plays.

'The two parts stand alone, but together they offer over five hours of monumental, exuberant theatre. It’s a moving family saga and a celebration of Sydney in all its funny, gritty glory.'

Source: Publisher's blurb.

'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)