“In the before, Tide gave us two high tides and two low tides every day.
But that all changed when the birds fell out of the sky…. among other things.”

It’s the end of the human era.

Six creatures pick at life along the shoreline, clutching at traces of the past and playing games to distract themselves from their washed-up present.

With B**CH, Water Closette creates a truly absurd world where hope, though entirely necessary, might be the most absurd thing of all.

Content warning: Allusion to the end of the world, apocalyptic reference, allusion to climate disaster, course language, sexual references, discussion of death and dying, allusion to suicide and mental health, yelling, stylised violence, discussion of food, food scarcity and starvation, some low, flickering and bright lights, loud noises and atmospheric sound.

Cloud 9 is the play that brought Caryl Churchill to the attention of the world when it was produced in London and then in New York in 1979. Her use of inclusive casting and non-naturalistic time frames drew attention to power relationships: how much and how little had changed since the Victorian colonial age. 40 years later it is interesting to reflect upon how much and how little has changed since the play was written.

There were five on a chartered yacht.

Then there were four on a stormy sea.

After dinner, there were three…

It is a weak-chinned divorcee, a bloodthirsty business shark, a pissed falling star, a pious aerobics matriarch and a cutthroat grandma.

It is murder on the Choral Queen.

It is Dead Serious.

Get it?

Good.

Content warning: The following work explores content relating to violence, references to sexual assault, fatphobic language and the use of coarse language through the satirical lens.

Gaban is a new Australian work written by First Nations artist Brook Andrew and directed by Budi Miller. It is a post-dramatic play about the effects of colonialism and the capitalistic exploitation of sacred objects. Gaban questions the narratives of museum art. Through what lens are the stories of these artefacts being told?

Can you feel the street's pulse, how it rushes through your veins like a drug?

He’s in trouble, she’s falling in love, they’re cheating, she’s trapped and he’s alone.

But keep moving since we mustn’t fall behind.

Stay connected – don’t want to miss out.

promiscuous/cities encompasses a night in a big city where each of us is frantically maintaining the myth of ourselves we’ve created. Yet underneath the vision of ourselves that we peddle on social media – like! – there is an aching distance between us.

Playwright Lachlan Philpott asks: How can we know a city when we don’t even know ourselves?

The peasants are rioting. The peasants are overthrowing their rulers.

But once on top, what will the dissenters do?

Will the cycle continue, or will everything finally change?

If you’re interested in happy endings, you’d be better off watching a different show.

Rats on Cocaine Prefer Jazz is a chilling dive into the ocean of the opulent and over-indulged. You’ll see our world but not quite as you know it – but its uncertainties, imbalances and injustices remain.

Informed by the epic theatre and cabaret of the 1930s, Rats on Cocaine Prefer Jazz explores how wealth and power affect our capacity for empathy.

Content warning: Strong lights/strobe, violence, substance abuse, loud noises, course language, sexual references

By Melissa Reeves
Directed by Daniella Farinacci

It’s 1965 and there doesn't seem to be too much going on in South Bendigo, except maybe at the Communist Party meeting, South Bendigo branch.

And there newly-minted comrade Martin sees the light on the hill. Martin's Mum frets about his inexplicable abandonment of the church, short hair and the army reserve but his new communist friends George and Eli Tassekis welcome him into their family like a second son. Who’s side is he on? Who’s side should he be on? Well, Martin has a secret — he is no fellow traveller, he’s been recruited by ASIO.

Based on a true story from rural Victoria, The Spook is a charming picture of a neglected Australia, but it also asks tough questions about allegiance, family, country and the future.

Sweet Charity is a musical theatre classic, with original choreography and direction by Bob Fosse, book by Neil Simon, music by Cy Coleman and lyrics by Dorothy Fields. It follows the romantic trials and tribulations of Charity Hope Valentine, a woman seeking love in all the wrong places. As a taxi dancer at the seedy Fan Dango Ballroom, she cultivates an unusually optimistic and romantic worldview - vindicated when, through a chance meeting, she spends an evening with the international film star Vittorio Vidal. After sharing the details of this encounter with her friends Nickie and Helene, they each eventually reveal their dreams for “something better”, leaving Charity resolute in her desire for a more fulfilling life. Her newfound commitment to self-empowerment takes her to the 92nd St Y, where she meets Oscar: a neurotic, socially awkward tax accountant. Their relationship begins unconventionally as they find themselves trapped in an old elevator together, but soon blossoms on the many dates that follow. Charity starts to believe he is ‘the one’ and they become engaged. However, things don’t end with happily ever after, leaving her utterly heartbroken. In her darkest hour, she comes to realise that she is the “bravest individual” she has ever met - a turning point that brings her into a more honest relationship with herself and ultimately sets her on a new path to a more fulfilling life.

From New York to Paris, from ragtime to jazz: The Hello Girls chronicles the story of America’s first women soldiers in this new musical inspired by history. These intrepid heroines served as bilingual telephone operators on the front lines, helping turn the tide of World War I. They then returned home to fight a decades-long battle for equality and recognition, paving the way for future generations.