Unproduced Plays For Sale


    Commissioned by the National Theatre, London and the Sydney Theatre Company, Crossing the King is a large scale historical drama about the confrontation between monarchist precedent and Australian nationalist stubbornness, about the irreconcilable tension between the stability of tradition and the possibilities of change.  The play climaxes in a fiery meeting in 1930 between James Scullin, Australia's Irish Catholic Labor Prime Minister, and King George V, the British monarch, in which Scullin insists that the King appoint, for the first time, an Australian-born Governor General who is a Jewish, ex-high Court judge named Isaac Isaacs, and was representative of Scullin’s, not the King’s, choice. 

    CAST 15 actors, 14 male, 1 female

    Garnet Lloyd Boles is a doomsday prophet who goes every day with his daughter Marilyn to warn people about the fast-approaching end of days. As Garnet recites apocalypse poetry from Byron, Yeats and the Book of Revelation, Marilyn animates the stories with interpretive dance and street theatre tricks. But then Garnet collapses and when Marilyn takes him to hospital they meet Dr Gerald Devlin who wants to do some tests. Garnet refuses and they leave, to take up their prophetic warning on the street. A huge storm begins and their work is made more urgent by Garnet’s belief that the end times is closer than ever. This is a play which celebrates the beauty and density of apocalyptic poetry from the Western tradition with a tour de force central performance in the role of Garnet Lloyd Boles.

    CAST 3 actors, 1 male, 1 female, 1 non-gender specific.

    Set at the annual ANZAC celebrations on the Gallipoli Peninsula in Turkey, this verbatim-based plays follows the stories of four young adults who travel to the WW1 landing site to commemorate the ANZAC legacy. Includes interviews and perspectives from Indigenous Australia, New Zealand, and Turkey (in Turkish).

    CAST 4 actors, 2 male, 2 female. 

    Inspired by the passing of the Sex Discrimination Act in 1984, written by researching the passing of the Act in the Parliament House Library and interviewing Senator Susan Ryan and others involved in that politically heady time. It was given a staged reading at Wharf 2LOUD in 2006, Augusta Supple directed a brilliant short version of it at the New Theatre for Women, Power and Culture — Then and Now in 2011. An astonishing historical perspective on Australia today when only thirty years ago a single women couldn’t get a bank loan in Australia or could be fired for being pregnant.

    CAST 4 actors, 2 Female, 2 male (with doubling)

    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.

    CAST 4 actors, 2 female, 2 male

    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.

    CAST 4 actors, 4 female

    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.

    CAST 4 actors, non-gender specific

    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.

    CAST 4 actors, 2 male, 2 female (with doubling)


    A play based on interviews with Australians of Mecanese descent (from Macau in China) reflecting on the handing back of that Portugese colony to China with a story about two women returning to the remains of the 17th Century Sao Paulo Cathedral in Macau.

    CAST 4 actors, 3 female, 1 male

    A play written after a residency at NORPA’s Broken Head playwright’s retreat. Drawing on interviews with residents in the Lismore region with local twitchers — bird lovers, people who perform bird imitations, bird watchers, ecologists, environmentalists, if they could name a local bird I probably spoke to them. Developed the work many years later into a new version called The Whispering.

    CAST 5 actors, 2 female, 1 male, 2 non-gender specific

    Extensive research in the Waterloo/Redfern area involving many interviews with people living in housing commission apartments was given a staged reading as part of Older and Wiser week in 2009, it includes stories of elder abuse visited upon old people by their own children and the parlous condition of disabled people living in public housing.

    CAST 5 actors, 3 female, 2 male

    A project researched with young adults in the Armidale area after attending a Beyond Empathy camp and speaking to both Indigenous and non-Indigenous young people about their lives, drugs, sex, courts, cops, culture, after and during their walk through a temporarily constructed labyrinth. The play uses Robert Louis Stevenson’s The Strange Case of Dr Jekyll and Mr Hyde as a modern allegory about alcoholism among young adults. 

    CAST 4 actors, 2 female, 2 male

    Commissioned by Monkey Baa Theatre about a young girl who takes a journey inside her own brother’s insides to find out what ails him and has to come to terms with the effect of her own and others bullying on him. Based on interviews with young adults about their experience of school harassment and sibling rivalry.

    CAST 5 actors, 1 male, 1 female, 3 non-gender specific

    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.

    CAST 3 actors, 3 female.