I’m Donna Hughes, and I’m thrilled to step into the role of Education Consultant here at APT.
I’m based in Walyalup (Fremantle, Western Australia) on Whadjuk Noongar Boodja, and come with over twenty years of classroom experience. I’m also a playwright who enjoys creating work for that tricky age bracket (12–15 years) and am passionate about building bridges between education and industry.
I know many of you are knee-deep in Term 2 chaos- it’s a big one (hang in there)! In this role, I hope to help busy teachers find the perfect play, resource, show, or PD opportunity.
This newsletter is your bite-sized update on the latest in Australian plays and opportunities. Included in this edition is a look into 198(4) by Christine Davey, a helping hand for the monologue mayhem wreaking havoc at this time of year, and a quick-skim list of some of the professional learning and shows on near you!
Lastly, thank you to Zoe Hogan for a brilliant handover — we wish her the best as she leaps into new writing and research adventures.
Donna Hughes
Education Consultant
Australian Plays Transform
New Play on the Block
198(4), a new adaptation by Christine Davey, is steeped in Brechtian techniques—narration, song and projection. Actors transform into multiple characters then cleverly morph into chanting citizens, angry crowds —making it a perfect vehicle for exploring Epic Theatre in the classroom. The set is abstract: a stage scattered with rubbish, centred around a metal bunk bed which is used in all scenes. As Dr. Davey notes, “This is a world where even the furniture can’t be trusted.”
Set in a world where geography and gender have been erased, 198(4) explores a society ruled by the Party—a despotic, omnipresent regime that monitors not just actions, but thoughts. Citizens who dare to dissent are swiftly “vaporized,” leaving no trace of their existence. At its core is Win Smith, a solitary worker in the totalitarian state of Oceania, who risks everything to seek truth, freedom, and human connection.
With its emphasis on transformation of set and props, 198(4) is also an ideal introduction to Grotowski’s Poor Theatre. The ensemble, “Others” are instructed to: “grab pieces of rubbish, form a lifeboat.” At other times the ensemble place chairs and use various properties to form an office, a bookshop, a street scene.
Davey describes four large posters looming over the space—featuring dictators, influencers, and public figures both revered and reviled. This visual offering invites students to interrogate power, image, and influence in the digital age. The questions are so relevant: How do we find the truth amongst the barrage of false information.
198(4) offers rich terrain for discussion and performance. A must-read for educators seeking to explore a non-linear form, a dynamic blend of styles and challenge students to critically engage with the world around them.
Cast Size: 13 plus ensemble.
Gender: Unspecified
A play to: Read aloud, study, perform, produce.
Themes: Individual vs the collective, control and manipulation, propaganda, free thought, suppression of individuality.
Recommended: 15+
Monologue Mayhem Sorted!
It’s that time of year again—cue the blank stares and last-minute panic. It happens every year…You’ve got that one student who still hasn’t found the right monologue for their practical exam.
Looking for something new? We’ve got you. The Monologue Collectionis packed with fresh monologues straight from the creative minds behind some of Australia’s best stage work.
This collection might just save the day—and your sanity. Let’s help you match the right monologue to the right student: check out the Monologue Collection now!
My pick for Term 2 is from the featured play, 198(4) by Christine Davey..
In this scene, O’Brien (prominent leader of the Inner Party) tests Win’s allegiance to the Party. O’Brien demands that Win see five fingers, instead of the four they are holding up. It’s a menacing scene, with plenty of opportunity for blocking and sound design.
O’BRIEN: Sometimes there are five. Sometimes there are three. You must try harder. It is not easy to become sane.(holds up three fingers). How many fingers am I holding up? (p. 62 – 63)
Sometimes it’s difficult to know whether a play is suitable for your students and how it will support the curriculum imperatives. It’s also hard to know which year groups will benefit most from the experience.
I was so excited to read about La Boite Theatre Company’s offer of a complimentary ticket to preview performances of each mainstage production. This offer is open to current Drama Teachers and Educators.
Note: School ID required on collection of tickets.
VIC – Teacher Professional Learning Day:
The Black Woman of Gippsland by Andrea James.
Saturday, 31 May 2025, at Southbank Theatre, The Lawler
A matinee performance of The Black Woman of Gippsland by Andrea James;
A 90-minute pre-show directing workshop with Amy Sole;
A post-show Q&A with the cast and writer/director Andrea James;
And a 90-minute sound design workshop with James Henry.
Participants will also gain exclusive access to a First Nations Theatre digital resource in the Education Hub. This event addresses Australian Professional Standards for Teachers 1.4, 2.4, and 6.2, focusing on Aboriginal and Torres Strait Islander histories and cultures. Bookings are exclusive to Drama Victoria members. For all enquiries contact: education@mtc.com.au
WA – Barking Gecko Teacher Studio Sessions: Primary and Secondary
Barking Gecko Arts’ Teacher Studio Sessionsare professional learning intensives designed to empower educators with creative tools, confidence, and renewed inspiration. These immersive workshops invite teachers into the world of theatre-making and storytelling, equipping them with practical strategies to enrich classroom practice and foster deeper engagement with students.
Tuesday 10 & Wednesday 11 June 2025, at Subiaco Arts Centre
In each session, participants will be guided by industry facilitators through hands-on creative processes drawn from productions, rehearsal rooms, and community-engaged practice. The sessions will focus on:
Creative pedagogy and arts integration
Process-driven learning grounded in improvisation, storytelling, and movement
Collaboration and co-creation within supportive, playful environments
Building capacity and confidence in delivering arts-based experiences
Your Term 2 Theatre Picks
A cheat sheet to avoiding ‘ShoMO’ (Show FOMO). This term we’ve got picks for WA, VIC, SA, and NSW.
Our team is always working to curate more collections and resources for use and reference in the classroom. A couple of our recent resources are:
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