Unproduced Plays For Sale

  • THE SUGAR HOUSE

    A woman struggles with the legacy of having been raised by a grandmother who fought to end capital punishment in Australia. What obligations does her working class heritage leave her with in 21st Century Australia and how can she reconcile her grandmother’s sustaining love with her morbid terror of state-sanctioned death? An epic drama spanning five decades this is a very funny story of family, identity and the struggle for justice.
  • TRICKY GIRL

    Workshopped with eight diverse schools in NSW, this is The Taming of the Shrew relocated to a contemporary teenage world where cyberbullying, sexting, online porn and rootrater sites are the norm of an Australian adolescence. Inspired by Shakespeare’s Shrew, this work embraces the ugly truth about submission being a function of sanctioned power that Shakespeare had the audacity and genius to tell, and engages with its searing and urgent relevance for young adult audiences, their parents and others who care about them today. 
  • LAVENDER BAY

    A sixty two year old woman lies and cheats to seduce a 22 year old woman. Or is it the other way around? 22 year old B’da joins North Shore meals on wheels, to ‘peek inside rich North Shore people’s houses.’ But instead she finds poor, ageing people rotting away in not very community-connected neighbourhoods. She befriends one of her grumpier clients, Minska, who admits that she is ‘coming out’ but B’da dismisses it as part of a creeping dementia. Along for the adventure is B’da’s girlfriend, Finegan - a motorbike riding bombshell. It is not long before Finegan is seducing Minska into her inaugural sexagenerian lesbian experience. Only the post-coital chit chat doesn’t go so well. Suddenly it seems that Minska doesn’t know who Finegan is. The only thing is to call B’da who helps to calm Minska down. B’da resigns in fury from Meals on Wheels, when the supervisor, Sandra, has to admit that Minska is her own mother who likes to crash other people’s places while they are away. Enraged by their lie, Finegan and B’da teach the lying Minska and Sandra a lesson, but Minska manages to spin one last story to assuage their fury.

    Lavender Bay is in magic realist form with surreal and fantastical elements introduced by Minska and Finegan’s shared proclivities for spells, intrigue and fantastical, improbable storytelling. A meditation on passionate love - the sexual intensity of it, the betrayals and self-delusion and savagery of it - between women.  
  • THE RAVENS

    A compelling stage version of the BBC Award winning radio play. The Ravens is a drama about Kira, a trying-to-be-ex sex worker in Kings Cross, Sydney. When she receives a large victim’s compensation payout, her friend Mark, who has once saved Kira’s life and feels that she ‘owes’ him, moves back into her life and her flat. But a chance meeting with Nina, a young social work student working at the local chocolate shop, seems like it might give Kira the courage and support she needs to finally get the violent Mark out of her life. Then an encounter with some of Nina’s old age clients at a nursing home focuses Kira’s determination and she boldly makes a break with Mark. Nina has also met Kira’s friend Nancy, who is also in a dominating lesbian relationship, when they go to visit her at the Love Machine strip club and brothel. Together Kira and Nina plan to get out of Kings Cross, but will they ever be able to really get out for good? 
  • EAR TO THE EDGE OF TIME

    Set in the world of radio astronomy, Ear to the Edge of Time is a drama about team work, scientific attribution, and a reluctant feminist activist. When a poet is commissioned to write about a female radio astronomer, it doesn’t go well. But then the astronomer makes an incredible discovery and the poet is party to a series of attribution incidents which he construes as sexism and writes about, much to the horror of the radio astronomer. She is pitched into this controversy as a very reluctant activist and must play out the drama with surprising dissent among her colleagues. Based on interviews with many contemporary radio astronomers, from several international radio telescopes, this play was the 2012 winner of the International S.T.A.G.E Award. This prestigious award is given to a play about science or technology and attracted over 200 entries from 19 countries. In 2012 the judges were Pulitzer Prize winning playwrights Tony Kushner, David Lindsay-Abaire and Donald Margulies, and Nobel Laureates Robert C. Richardson, Frank Wilczek and David J. Wineland.
  • SWIMMING UPSTREAM

    A moving series of first-person verbatim stories from survivors of child sexual abuse, drawn from Bowral to Hornsby to Summer Hill and Waterloo and Redfern. Written by Alana Valentine, the script is structured so that four community narrators read sections of poetry, jingles and songs woven through the narrative. Between these sections are verbatim stories in the real words of survivors of childhood trauma which may read by a procession of readers from the audience or community performers. 
  • THE BEAUTIFUL BLACK SNAKE

    Presented at Parnassus Den 2010

    Inspired by the theological boldness and dramatic poetry of John Milton’s Paradise Lost, The Beautiful Black Snake is a contemporary retelling of the Torah, Bible and Qur’an story of the first humans, the temptation by a snake-borne Satan, and banishment from the Garden of Eden. Envisioning Satan’s rejection as that of a spurned child/lover the work tracks Satan’s attempts to get back into God’s favour in a poetic, humorous and ultimately moving manner, its premise being that evil is a form of perverted love, its necessary inverse and compliment.

    • 2 Males
    • 2 Females

  • THE STORY OF ANGER LEE BREDENZA

    A magic-realist fable with a mysterious child at the centre of a struggle between a mother and grandmother. Told to a bar worker, Patricia, this is the story of a child conceived in Central Australia, returned to the land of her origin. Part-thriller, part ghost-story, part generational drama about the need for a belief in the unseen and spiritual dimensions of life, this play was originally written as a radio drama which won both an Ian Reed Radio Drama Fellowship and a NSW Literary Award. A compelling tale with three robust, dramatic roles for female actors.