In Garry Starr Performs Everything, we meet a man hell-bent on saving theatre from extinction, by performing every genre he can think of in 60 hilarious minutes. If you don’t die laughing, then gather your strength and take a bite of Jean Tong’s similarly irreverent Romeo Is Not The Only Fruit. This glorious lesbian-powered musical bends the plot of Shakespeare’s Romeo & Juliet, to celebrate queer love, Asian culture, and a bunch of awesome women.
In May, State Theatre Company of South Australia delivers an elegant, punchy version of George Orwell’s Animal Farm, driven by a masterly performance from Dale March. In a parallel tour-de-force, Ghenoa Gela invites us to deep-dive into Torres Strait Islander culture, as she explores heritage, family and big life choices in her awesome Sydney Festival debut, My Urrwai.
It’s a genuine thrill to welcome some familiar regional faces to the performance pack. In 2018, The Yackandandah Young Players blew me away with their sophisticated production of The Last Boy on Earth. Written and directed by Yack playwright Brendan Hogan, it transfixed and delighted audiences of all ages. HotHouse is enormously proud to co-produce this upscaled version with YYP for family audiences in 2019.
We end the year with two meaty family dramas with very different flavours. In Splinter, Hilary Bell’s fascinating play about a missing child who returns as a stranger, we witness the spiralling marriage of a couple unable to cope with the unknown. Suzie Miller’s surprisingly hopeful Sunset Strip wears its beautiful heart on its sleeve, as it navigates the ordinary/extraordinary complexities of family life and relationships.
Our 2019 season is chock full of life, love, and spectacular Australian talent. Come, experience it with us!