'To win, you just need to believe in the rules. And Tessa loves to win, even when defending clients accused of sexual assault. Her court-ordained duty trumps her feminism. But when she finds herself on the other side of the bar, Tessa is forced into the shadows of doubt she’s so ruthlessly cast over other women.
'Winner of the 2018 Griffin Award, Prima Facie is an indictment of the Australian legal system’s failure to provide reliable pathways to justice for women in rape, sexual assault or harassment cases. It’s a work of fiction, but one that could have been ripped from the headlines of any paper, any day of the week, so common you could cry.
'Turning Sydney’s courts of law into a different kind of stage, Suzie Miller’s (Sunset Strip, Caress/Ache) taut, rapid-fire and gripping one-woman show exposes the shortcomings of a patriarchal justice system where it’s her word against his.
'Maybe we need a new system.'
Source: Griffin 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.
The Code is a fictional thriller set between the remote Australian desert and the corridors of power in Canberra. A murder in the Outback thrusts two unlikely brothers into an international political conspiracy.For series two.
An Australian man travels to Turkey after the Battle of Gallipoli to try and locate his three missing sons.
The Code is a fictional thriller set between the remote Australian desert and the corridors of power in Canberra. A murder in the Outback thrusts two unlikely brothers into an international political conspiracy.
Inspired in part by Melbourne's 1988 Walsh Street murders, Animal Kingdom is a story about the battle between Melbourne's underworld and the police. The story tracks seventeen-year-old Joshua 'J' Cody, a troubled teenager perilously caught between his own criminal family and Detective Leckie, a compromised cop who thinks that he can save 'J'. 'J' comes to realise that in order to survive, he must determine how the game is played. This involves not only writing his own rule book but also choosing his place in the cunning and brutal animal kingdom in which his family lives.
'Samson and Delilah tells the story of two Aboriginal teenagers in a remote community. They live in a sparse environment but one that absorbs all manner of cultural influences, where dot painting and country music exist side by side. Samson gets through his days by sniffing, while Delilah is the caregiver for her nana before taking a moment for herself to listen to Latino music. Their journey ranges across many of the most urgent issues concerning Indigenous people in Australia, homelessness, poverty, domestic violence and substance abuse, but it does so with tenderness, dignity, and even humour.'
Source: Adelaide Film Festival website, www.adelaidefilmfestival.org/ Sighted: 23/02/2009
'Life can be tough when you’re 21-years-old, and still a virgin. Just ask Tim. The girl of his dreams has just walked into his life, and things should be looking up, except a few small problems stand between him and the perfect romance: his mum, his dad and the family business… show business. Welcome to CLUBLAND. A family love story that will defy your expectations.'
Source: Screen Australia. (Sighted: 4/2/2014)
'A visually haunting story of an adolescent girl's discovery of the difference between sex and love in the winter landscape of an Australian ski resort town.'
Source: Screen Australia.
'Placid Lake is a kid who follows his instincts; follows them so far they lead him to convalescing in a full body cast and pondering whether following your heart is good for your health. Deciding it isn't, he must take the road more travelled. Be normal, fit in. Even if it kills you.'
Source: Screen Australia. (Sighted: 4/12/2013)
A young girl goes missing within the Australian landscape and her father refuses to let an Aboriginal man, Albert, be included in the search party and utilise his 'tracking' skills. It is a decision that proves fatal. Months later, the child's mother approaches Albert to begin the tracking process that eventually leads her to her lost child.
'When a young girl is murdered at the hands of one of her male contemporaries, what is the aftermath? How will her friends cope? How can such violence be understood?'
Source: Australian Plays (https://australianplays.org/script/CP-366/). (Sighted: 22/02/2018)
'Commencing with a school performance of A Midsummer Night’s Dream, the Shakespearean themes of suffering and reconciliation persist as three families on separate holidays are united during a fierce storm.
'Immigrants Harry and Vic love their adopted country but are faced with their son Tom’s terminal illness. Jim and Gwen fret over their daughter Meg’s blossoming independence and her friendship with the socially unsuitable Tom. Roy is unable to console a grief-stricken Coral over the death of their only son in Vietnam.
'But with the help of some Shakespearean fairies and a spectacular storm, these families are reconciled and face the future anew.
'For two decades audiences have been enthralled by this story about the coming of age of both a group of individuals and the country in which they live. Despite being set almost 40 years ago, this multi-award winning play is as relevant as ever with its themes of reconciliation and loss.
'Away is sharply observed, clever, funny and yet very moving. Out of the familiar family ingredients, Gow has constructed a magical play that every Australian can relate to. It depicts the hopes of a new generation, prompting us to consider what is ultimately most important in our lives.' (Publication summary)
Set in the world of law enforcement, vice, drugs, politics, and organised crime, Scales of Justice is a quasi-documentary comprising three self-contained stories. The first concerns a young probationary constable who finds himself torn between his moral obligations and loyalty. The second follows two drug squad detectives who allow themselves to be compromised to achieve ambition and power. The third story examines a young and ambitious attorney-general who finds himself in conflict with corrupt senior policemen and some major crime bosses.
A ground-breaking television series, Women of the Sun was, according to Moran in his Guide to Australian TV Series, born out of co-writer Sonia Borg's desire for a more balanced televisual representation of Indigenous Australians: 'Angry at the plight of Aborigines, she was concerned that many scriptwriters could conceive of Aboriginal women only as prostitutes.' To counter this tendency, she contemplated a series that showed Australian history from the perspective of Aboriginal women, a project for which she sought the colloboration of sociologist and social worker Hyllus Maris.
Because, as Moran notes, it 'portrayed the history of Aboriginal people since the incursion of the whites, focusing on the relations between blacks and whites over the previous 200 years', Women of the Sun 'was a direct counter to the various official histories in preparation for the Bicentennial celebrations in 1988'.
Women of the Sun is divided into four parts, each of which focuses on a different woman in a different period of history.
'Alinta the Flame' (set in the 1820s) shows the interaction between the two cultures as an Indigenous Australian tribe (the Nyari) nurse back to health two English convicts whom they find washed up on the beach, only to find the new settlers increasingly encroaching on Nyari lands--a process that ends in the annihilation of the entire tribe, barring Alinta and her young daughter.
'Maydina the Shadow' (set in the 1890s) follows Maydina, abducted and abused by a group of seal-hunters, from whom she eventually escapes with her daughter Biri (who is of mixed Indigenous Australian and European heritage). Taken in by Mrs McPhee, head of a church mission, Maydina is separated from her child and sent into service for the church. When she falls in love with an Indigenous Australian man and attempts to leave with him and Biri to return to a traditional lifestyle, Mrs McPhee has them pursued by troopers, who kill Maydina's lover and remove Biri from her care.
'Nerida Anderson' (set in 1939) focuses on the Cumeroongunga Walkout, showing the deterioration in conditions on the reserve through the eyes of Nerida Anderson, raised on the reserve and returning there after a period working in the city as a book-keeper. Her attempts to foster improvement on the reserve are greeted angrily by the reserve manager, who attempts to have Nerida and her family tried for treason; ultimately, Nerida incites a successful walkout.
'Lo-Arna' (set in the 1980s) focuses on 18-year-old Ann Cutler's discovery that she is not of French Polynesian descent as she believed, but actually the biological daughter of her adoptive father and Alice Wilson, an Indigenous Australian woman from a nearby town, prompting her to reconsider her relationship with her adoptive parents and with her own identity.
Moran notes of the series as a whole that 'Although each of the four episodes of Women of the Sun is self-contained, nevertheless, taken together the episodes powerfully suggest what 200 years of white contact has done to Aboriginal society'.
'The elocution lessons of a boy named Benjamin Franklin bring about the destruction of his teacher, a timid transvestite whose only sexual activity takes place in the world of fantasy.'
Source: 'Noble Technique', Canberra Times, 19 March 1977, p.15.
A young policeman’s first day on duty becomes a violent and highly charged initiation into law enforcement. Remarkable for its blend of boisterous humour and horrifying violence, the play has acquired a reputation as a classic statement on Australian authoritarianism and is a key work in the study of Australian drama.
A music theatre burlesque based on the real life King O'Malley, a Texan born banker, real estate salesman, insurance agent, and founder of a religious movement, who came to Australia in 1893 under the belief that he was dying of consumption. After arriving at Emu Bay, Queensland, O'Malley spent some two years living in a cave before eventually walking from Rockhampton, seemingly cured of the disease, all the way to Adelaide. He became the MHA of Encounter Bay (South Australia) up until 1899, then a member of the House of Representatives (1901-17), in addition to undertaking the position of Minister for Home Affairs (1910-13, 1915-16). He retired from politics in 1917. O'Malley is also recognised for his role in opening the trans-continental railway and for his significant input into Labour reform and social legislation during the early decades of the twentieth century.
Ellis and Boddy portray O'Malley as a doubtful, though likeable/heroic, character whose early schemes are seen to mock several social institutions. In the first part of the play we encounter the loud-mouthed O'Malley leaving for Australia (accompanied by Mr Angel, a devil who acts as his spirit of conscience). In line with the real historical account O'Malley is also seen befriending the aborigines and standing for parliament. In the second part a debate begins between O'Malley and Billy Hughes, with the visionary O'Malley battling for several future initiatives, while Hughes argues for conscription. At this point the ensemble of actors take on a variety of roles, notably embers of parliament, as they satirise the image of these 'honourable representatives of government'.
The Legend Of King O'Malley has been described by Leonard Radic as : 'a rumbustious piece of musical theatre... [drawing] consciously on the traditions of panto, music hall, revue and vaudeville. The script [includes] hymns, songs, a revivalist meeting and a pageant or two... the result was a piece of pastiche theatre which explored its subject with larrikin abandon, and without concessions to good taste or manners' (State of Play 1991, p70). The musical element of the play, according to its authors, is 'a bit of a grab-bag. This is not a musical,' they write in the 1974 Angus and Robertson edition, ' it is a play with music.... use as few or as many of the [songs] as you like; and put in your own favourites if you wish. "Happy Land," "In the Service of the King," and "Hold the Fort," should be used where marked" (xxii). Other songs suggested, and which were used in the original Jane Street production include: 'I Surrender All', 'Go Little Pennies', 'Wonderful Words of Life', 'Lead on King Eternal', 'I've Found a Friend', 'Go Tell it to Jesus', 'What a Friend', 'Hey There! You're an Australian', and 'Onward Christian Soldiers'.
'The cuckold is a young university lecturer whose academic career is headed for brilliant success as surely as his marital relationship with a lovely, sexual wife is headed for disaster. What makes for comedy is first the husband's inversion of his academic and marital duties and finally their equation in a sophisticated battle of the sexes.'
Source: Mayhead, Gerald. 'Chance of a Winner'. The Age 27/12/1968: p.2
A drama series set during the height of the Vietnam War, You Can't See Round Corners revolves around Frankie McCoy, a lonely, somewhat aggressive non-conformist who has spent all his life living in the inner-city suburb of Newtown. As the series progresses, McCoy is called up for National Service and although he initially fulfils his duty, he later deserts and heads back home to hide with friends. Other main characters include his girlfriend Margie and enemy Terry Howlett, the twenty-year-old leader of a small gang of thugs.
The television adaptation was contemporised by producer John Walters and screenwriter Richard Lane. Cleary's original novel is set in the Sydney suburb of Paddington during World War II. After deciding to bring the temporal setting forward to the (then) current Vietnam era, they also had to change the physical setting. Although Paddington had been a working-class suburb in the 1940s, the demographic had changed considerably by the 1960s. Newtown was subsequently considered the most appropriate location for a narrative set in a working-class suburb. Richard Lane records in Take One (1972) that he and Walters also deliberately introduced other contemporary issues into the narrative, notably the inclusion of the Greek community, which by the late 1960s had had an enormous impact on the Newtown district (p. 52).Joint winner with 'Cage a Tame Tiger'.
'Convicting Martin "Tiger' Fly, a known Kings Cross drug pedlar, is a personal challenge to Chief Inspector Ted Hallam. While the Customs Special Branch are convinced that Fly is obtaining drugs from merchant seamen, their frequent raids have never actually found him in possession of any drugs. Mardi Shiel is used as part of the investigation that leads to an exotic Chinese dancer, a well-endowed prostitute, and a frightened Melbourne businessman.'
Source: Storey, Don. Classic Australian Television. http://www.classicaustraliantv.com/contrab1.htm (Sighted 13/9/11)Joint winner with the serial You Can't See 'Round Corners.