WELCOME TO THE PLAYBOX COLLECTION.
This is one of the most complex projects we have undertaken and it was in process for over two years. We were so fortunate in receiving support and assistance from many people – first and foremost the playwrights and their estates, Currency Press, the many agents who represent writers, the staff of Playbox’s successor, Malthouse Theatre, the Performing Arts Collection at the Arts Centre, Jeff Busby who gave us permission to use his beautiful production images and, of course, the staff of Playbox, particularly its General Manager Jill Smith, and its two Artistic Directors Carrillo Gantner and Aubrey Mellor.
The collection focuses on what I came to call its ‘All Australian Period’ which began in 1990 with its move to the then newly converted C.U.B. Malthouse in Sturt Street, South Melbourne. It is important to acknowledge that Playbox has always had a strong commitment to Australian plays and playwrights, a tradition which Malthouse Theatre continues to honour.
But these were different times. The energy of this phase of Playbox’s life flowed from the ‘New Wave’ in Australian playwriting (and theatre making) which had begun in the late 1960’s, led by writers such as David Williamson, Jack Hibberd, Dorothy Hewett and many others.
As the 70’s went on and newer writers such as Stephen Sewell, Louis Nowra and Alma de Groen appeared, the work started getting larger scale and more epic. Plays like Sewell’s The Blind Giant is Dancing, Nowra’s Inner Voices and de Groen’s The Rivers of China were challenging their audiences to take themselves seriously in the political realm, and to understand Australia as a significant player in world politics and culture. This was an amazing time for artists (and audiences) in Australia; an outpouring of creativity across the board, and a sense of ‘right time, right place’ across the foyers, galleries and concert halls of the country.
I graduated from drama school in 1989, a couple of months before the opening of the Malthouse, and I remember that, as much as we were talking about the ‘global village’ then, it still felt like the true role of an artist was to do Australian work. It felt possible. It felt exciting. It was a different world.
The policy of the new Playbox was that it would produce not only almost exclusively Australian work (with some contemporary Asian content), but also that these works would almost all be world premieres. It was a heady vision. And for fifteen years, that is what it did. As a result, Playbox developed many brilliant voices: Joanna Murray-Smith, Hannie Rayson, Richard Frankland, Michael Gurr and Ben Ellis, to name a few. It programmed established writers, and writers of whom no one had ever heard. It commissioned works, including Ariette Taylor’s Sabat Jesus and Jenny Kemp’s Black Sequin Dress. The ongoing development work it undertook with readings, commissions and workshops was enormous in its scope and exhausting in its capacity.
I can’t let this introduction go by without acknowledging and celebrating the amazing partnership between Playbox and the Ilbijerri Theatre Company. This is a major part of its legacy, and speaking strictly personally, the most significant. The unforgettable STOLEN, CONVERSATIONS WITH THE DEAD, The BLAK INSIDE program were all a result of Playbox and Ilbijerri’s ongoing collaboration in this period, which produced some of the most powerful texts in the Australian canon.
I worked at Playbox as Aubrey Mellor’s associate for five years (1999-2003). I remember thinking then, as I do now, that the Playbox vision was an impossible but yet wonderful aspiration. Research and Development in any sector is a vast, speculative and risky undertaking. When it plays out in full public glare, there is nowhere to hide. This is a given in the theatre. There is only so much you can understand without putting the work in front of an audience, and to do that effectively you need to rehearse and present the work as fully as possible. Sometimes it was magic; sometimes it was heartbreaking. But it was an amazing time and it left us with a staggering collection of texts, many of which as I re-read them, are as vividly connected to us and our world now as they were then – some even more so.
It is sometimes difficult when framing a collection such as this to avoid nostalgia. I know there are many people in the industry who mourn this time, not just for the demise of Playbox, but for a period of great flourishing in the arts across the board. Speaking personally, I value the current scene – the writers, makers, actors, directors and designers – as much as I did then. The times are very different, and the theatre is responding accordingly. That, to me, is as it should be. Theatre is, by necessity, a fashion-driven form. As Heidi Klum continually reminds us, ‘in fashion sometimes you are in, and sometimes you are out’. Comes with the territory. But the writers’ works remain as evocative time capsules of the world in which they were written. They record what we cared about, what we were passionate about, what was obsessing us. As such, they are objects of enormous cultural value. They remind us from where we have come, and sometimes to where we might go. The Playbox texts are the legacy of a brave and passionate cultural experiment: an experiment that created a generation of artists. We are so proud to be able to collect and preserve them, and to know that they remain visible and available to be read and performed.
To every playwright, I say ‘respect’. This is a monstrously difficult form and the times are particularly stressful. Now, as then, we need vision and courage. We need leadership. The All Australian Playbox experiment was bold, passionate and visionary. These works are the living proof.
Tom Healey,
Literary Manager (2010 to 2018)
Scripts
Featured
-
AWAY
$23.99 -
MILO’S WAKE
$5.40 – $15.00 -
SANCTUARY
$5.40 – $15.00 -
THE EMPEROR REGRETS
$5.40 – $15.00
Other Scripts
-
THIEVING BOY & LIKE STARS IN MY HANDS
$5.40 – $15.00 -
Stolen
$23.99 -
Love Suicides
$23.99 -
SISTERS
$5.40 – $15.00 -
THE FAT BOY
$5.40 – $15.00 -
GINGER
$5.40 – $15.00 -
Cloudstreet
$23.99 -
Still Angela
$23.99 -
Honour
$23.99 -
Love Child
$23.99 -
Gary’s House
$23.99 -
THE JOHN WAYNE PRINCIPLE
$5.40 – $15.00 -
THE ADMAN
$5.40 – $15.00 -
ESTERHAZ
$5.40 – $15.00 -
THE GLASS MERMAID
$5.40 – $15.00 -
Falling Petals
$23.99 -
GOD’S LAST ACRE
$5.40 – $15.00 -
Like a Metaphor
$24.95 -
Hotel Sorrento
$23.99 -
EARTHLY PARADISE
$5.40 – $15.00 -
Rapture
$23.99 -
Salt
$22.99 -
BABY ‘X’
$5.40 – $19.00 -
EARLY DAYS UNDER THE OLD HAT
$5.40 – $15.00 -
MODEST EXPECTATIONS
$5.40 – $15.00 -
KING OF COUNTRY
$5.40 – $15.00 -
All Souls
$23.99 -
Ruby Moon
$23.99 -
Mavis Goes to Timor
$23.99 -
Miss Tanaka
$23.99 -
THE BLACK SEQUIN DRESS
$23.99 -
Chilling and Killing My Annabel Lee
$5.40 – $15.00 -
PEACH MELBA
$5.40 – $15.00 -
The Sick Room
$22.99 -
Face to Face
$34.99 -
THE CONJURERS
$5.40 – $15.00 -
STRANGERS IN THE NIGHT
$5.40 – $15.00 -
DISTURBING THE DUST
$5.40 – $15.00
Timeline
1990
Forty Lounge Café
Tess Lyssiotis
Beckett Theatre, 15th March, 1990
Café Fledermaus
Robyn Archer
Merlyn Theatre, 24th May, 1990: WORLD PREMIERE
Peach Melba
Thérèse Radic
Beckett Theatre, 8th June, 1990: WORLD PREMIERE
Hotel Sorrento
Hannie Rayson
Merlyn Theatre, 27th July, 1990: WORLD PREMIERE
Atlanta
Joanna Murray-Smith
Beckett Theatre, 2nd August, 1990: WORLD PREMIERE
Sabat Jesus
Ariette Taylor
Melbourne Town Hall, 13th September, 1990: WORLD PREMIERE (with Melbourne International Festival of the Arts)
Modest Expectations
David Allen
Beckett Theatre, 1st November, 1990: WORLD PREMIERE
Esterhaz
Ron Elisha
Merlyn Theatre, 15th November, 1990: WORLD PREMIERE
Away
Michael Gow
Merlyn Theatre (return season), 5th October 1990
1991
Sisters
Stephen Sewell
Beckett Theatre, 2nd March, 1991: WORLD PREMIERE
Alive and Kicking
Judy Bierwirth
Merlyn Theatre, 4th May, 1991: WORLD PREMIERE
Earthly Paradise
Darryl Emmerson
Beckett Theatre, 8th June, 1991: WORLD PREMIERE
The Adman
Robert Hewett
Merlyn Theatre, 20th July, 1991: WORLD PREMIERE
The Newspaper of Claremont Street
Adapted by Alan Becher & David Britton, from Elizabeth Jolley’s novel
Beckett Theatre, 10th August, 1991
Heroic Measures
Tom Lindstrom
Merlyn Theatre, 29th October 1991: WORLD PREMIERE
Early Days Under the Old Hat
Pam Leversha
Beckett Theatre, 16th November, 1991: WORLD PREMIERE
1992
Wolf
Tobsha Learner
Beckett Theatre, 3rd April 1992: WORLD PREMIERE
Ginger: A Musical Diversion
devised by Lois Ellis, Tommy Kalinski, Evelyn Krape & Lorraine Milne
Beckett Theatre, 30th October, 1992: WORLD PREMIERE
The Chronicle of Macbeth
William Shakespeare
Union Hall, Adelaide, 28th February, 1992 (with Adelaide Festival)
then in the Merlyn Theatre, 12th March, 1992
A Dickin’s Christmas
Barry Dickins
Merlyn Theatre, 30th November, 1992: WORLD PREMIERE
Sex Diary of an Infidel
Michael Gurr
Beckett Theatre, 26th June, 1992: WORLD PREMIERE
Mary Lives
Frank Hardy
Merlyn Theatre, 6th June, 1992: WORLD PREMIERE
The Emperor Regrets
Thérèse Radic
Merlyn Theatre, 2nd October, 1992: WORLD PREMIERE
King of Country
Tim Gooding
(no theatre specified) 24th July, 1992
The Newspaper of Claremont Street
Adapted by Alan Becher & David Britton, from Elizabeth Jolley’s novel
(Return Season), 20th October 1992
1993
The Temple
Louis Nowra
Merlyn Theatre, 23rd July, 1993: WORLD PREMIERE
The Garden of Granddaughters
Stephen Sewell
Beckett Theatre, 16th April, 1993: WORLD PREMIERE
Love Child
Joanna Murray-Smith
Beckett Theatre, 18th June, 1993: WORLD PREMIERE
Big Toys
Patrick White
Merlyn Theatre, 28th May, 1993
King Lear
William Shakespeare
Beckett Theatre, 19th October, 1993
FOUR PLAY
(no theatre specified),
2 plays opened 15th November, 1993 &
2 plays opened 16th November 1993
Calypso
Margaret Cameron
What’s a Girl to Do?
Deirdre Rubenstein
Man to Man
Manfred Karge
Mythery
Sue Ingleton
A Happy and Holy Occasion
John O’Donohue
Merlyn Theatre, 27th February, 1993
Levad
Barrie Kosky & Yoni Prior
Beckett Theatre, 23rd March, 1993
Simply Irresistable
Caroline Gilmer
Merlyn Theatre, 21st September, 1993
Sex Diary of an Infidel
Michael Gurr, 29th September, 1993
(return season)
Sadness
William Yang
Beckett Theatre, 14th September, 1993
1994
Furious
Michael Gow
Beckett Theatre, 11th March, 1994
(originally presented by Sydney Theatre Company, 1991)
Disturbing The Dust
Merlyn Theatre, 15th March, 1994: WORLD PREMIERE
Sanctuary
David Williamson
Merlyn Theatre, 4th May, 1994: WORLD PREMIERE
Underwear, Perfume and Crash Helmet
Beckett Theatre, 11th July, 1994: WORLD PREMIERE
Falling From Grace
Hannie Rayson
Merlyn Theatre, 9th August, 1994: WORLD PREMIERE
Remember Ronald Ryan
Barry Dickins
Merlyn Theatre, 21st September, 1994: WORLD PREMIERE
On the North Diversion Road
Tony Perez
Victorian Arts Centre, 20th October, 1994: AUSTRALIAN PREMIERE
(with Melbourne International Festival)
Picasso at the Lapin Agile
Steve Martin
Merlyn Theatre, 21st October, 1994: WORLD PREMIERE
(co-produced with Company B, Belvoir)
Glass Mermaid
Tobsha Learner
Beckett Theatre, 18th November, 1994: WORLD PREMIERE
Guess Who’s Mum’s Got a Willy?
Kevin Harrington
(no date supplied)
Shamanistic Ritual
(no details supplied)
1995
Slick
Gary Day
Beckett Theatre, 31st January, 1995: WORLD PREMIERE
Sweet Phoebe
Michael Gow
Beckett Theatre, 24th February, 1995
Original production from Sydney Theatre Company
All Souls
Daniel Keen
Merlyn Theatre, 11th April, 1995
Passion and its Deep Connection to Lemon Delicious Pudding
Suzanne Ingleton
Beckett Theatre, 16th May, 1995: WORLD PREMIERE
Good Works
Nick Enright
Beckett Theatre, 9th June, 1995
The Incorruptible
Louis Nowra
Merlyn Theatre, 11th July, 1995: WORLD PREMIERE
Pacific Union
Alex Buzo
Merlyn Theatre, 15th September, 1995: WORLD PREMIERE
The Head of Mary
Tanaka Chikao
Merlyn Theatre, 26th October, 1995: AUSTRALIAN PREMIERE
Honour
Joanna Murray-Smith
Beckett Theatre, 14th November, 1995: WORLD PREMIERE
1996
Emma Celebrazione
Graham Pitts
Merlyn Theatre, 21st February, 1996
The Black Sequin Dress
Jenny Kemp
Merlyn Theatre, 19th March, 1996: WORLD PREMIERE
Co-produced with the Adelaide Festival (World Premiere Performance, March 5th, 1996 at the Scott Theatre, Adelaide)
Gary’s House
Debra Oswald
Beckett Theatre, 2nd April, 1996: WORLD PREMIERE
Co-produced with Q Theatre, Penrith (World Premiere Performance 6th March, 1996, Q Theatre)
Burning Time
Nicholas Flanagan
Merlyn Theatre, 22nd May, 1996: WORLD PREMIERE
Jerusalem
Merlyn Theatre, 24th July, 1996: WORLD PREMIERE
Strangers in the Night
Abe Pogos
Beckett Theatre, 6th August, 1996: WORLD PREMIERE
The Mourning After
Verity Laughton
Beckett Theatre, 25th October, 1996: WORLD PREMIERE
Competitive Tenderness
Hannie Rayson
Merlyn Theatre, 20th November, 1996: WORLD PREMIERE
1997
Emma Celebrazione
Graham Pitts
Merlyn Theatre, 1st February, 1997
(return season)
Up the Road
John Harding
Merlyn Theatre, 21st February, 1997
Waking Eve
Robert Hewett
Merlyn Theatre, 4th April, 1997: WORLD PREMIERE
The Conjurers
Alana Valentine
Beckett Theatre, 30th April, 1997: WORLD PREMIERE
Jungfrau
Jonathan Hardy
Merlyn Theatre, 30th May, 1997: WORLD PREMIERE
Thieving Boy/ Like Stars In My Hands
Tim Conigrave
Beckett Theatre, 18th July, 1997: WORLD PREMIERE
Redemption
Joanna Murray-Smith
Beckett Theatre, 19th August, 1997: WORLD PREMIERE
The John Wayne Principle
Merlyn Theatre, 12th September, 1997
Love Suicides
John Romeril
Merlyn Theatre, 7th November, 1997: WORLD PREMIERE
1998
Confidentially Yours
Janis Balodis, Andrew Bovell, Alison Croggon, Debra Oswald, Nick Enright, Michael Gurr, Daniel Keene, Joanna Murray-Smith & Debra Oswald
Beckett Theatre, 11th November, 1998: WORLD PREMIERE
Natural Life
Humphrey Bower
Merlyn Theatre, 25th March, 1998: WORLD PREMIERE
Co-produced with Adelaide Festival (World Premiere performance, 24th February, 1998, Queens Theatre, Adelaide)
Miracles
Tobsha Learner
Merlyn Theatre, 29th April, 1998: WORLD PREMIERE
Tear from a Glass Eye
Matt Cameron
Beckett Theatre, 27th May, 1998: WORLD PREMIERE
Speaking in Tongues
Andrew Bovell
Beckett Theatre, 21st July, 1998
Rising Fish Prayer
Adam May
Merlyn Theatre, 11th September, 1998: WORLD PREMIERE
Stolen
Jane Harrison
Beckett Theatre, 21st October, 1998: WORLD PREMIERE
Co-produced with Ilbijerri Aboriginal and Torres Strait Islander Theatre Co-op, co-presented with Melbourne International Festival of the Arts
The Piccadilly Bushman
Ray Lawler
Merlyn Theatre, 17th November, 1998
1999
Chilling and Killing my Annabel Lee
Aidan Fennessy
Beckett Theatre, 10th February, 1999: WORLD PREMIERE
The Sick Room
Stephen Sewell
Merlyn Theatre, 10th March, 1999: WORLD PREMIERE
Secret Bridesmaids’ Business
Elizabeth Coleman
Merlyn Theatre, 14th April, 1999: WORLD PREMIERE
The Dog’s Play/ A Few Roos Loose in the Top Paddock
Tee O’Neill
Beckett Theatre, 26th May, 1999: WORLD PREMIERE
Cloudstreet
Nick Enright/ Justin Monjo
Merlyn Theatre, 30th June, 1999
The Language of the Gods
Louis Nowra
Merlyn Theatre, 8th September, 1999: WORLD PREMIERE
A Return to the Brink
Rodney Hall
Merlyn Theatre, 21st October, 1999: WORLD PREMIERE
Nightfall
Joanna Murray-Smith
Beckett Theatre, 16th November, 1999: WORLD PREMIERE
Co-produced with Sydney Theatre Company
2000
Secret Bridesmaids’ Business
Elizabeth Coleman
Merlyn Theatre, date unspecified
Return season
Face to Face
David Williamson
Merlyn Theatre, 1st March, 2000
Elegy
Jodi Gallagher
Beckett Theatre, 5th April, 2000: WORLD PREMIERE
INSIDE 2000, PROGRAM 1
So Wet
Samantha Bews
Beckett Theatre, 12th April, 2000: WORLD PREMIERE
INSIDE 2000, PROGRAM 2
Like a Metaphor
Gabrielle Macdonald
Beckett Theatre, 12th April, 2000: WORLD PREMIERE
INSIDE 2000, PROGRAM 2
Baby X
Campion Decent
Beckett Theatre, 19th April, 2000: WORLD PREMIERE
INSIDE 2000, PROGRAM 3
Violet Inc.
Pam Leversha
Beckett Theatre, 26th April, 2000: WORLD PREMIERE
INSIDE 2000, PROGRAM 4
The Goldberg Variations
Ron Elisha
Beckett Theatre, 24th May, 2000: WORLD PREMIERE
Crazy Brave
Michael Gurr
Beckett Theatre, 28th June, 2000: WORLD PREMIERE
Sweet Road
Debra Oswald
Merlyn Theatre, 2nd August, 2000
Co-produced with State Theatre, SA
Meat Party
Duong Le Quy
Merlyn Theatre, 19th October, 2000: WORLD PREMIERE
2001
Miss Tanaka
John Romeril
Merlyn Theatre, 16th February, 2001: WORLD PREMIERE
Co-produced with Handspan Visual Theatre
The Sign of the Seahorse – the Concert
Graeme Base
Concert Hall, Victorian Arts Centre. 1st March, 2001: WORLD PREMIERE
Co-produced with Melbourne Symphony Orchestra
Salt
Peta Murray
Beckett Theatre, 16th March, 2001: WORLD PREMIERE
I Don’t Wanna Play House
Tammy Anderson
Beckett Theatre, 24th April, 2001
St Kilda Tales
Raimondo Cortese
Merlyn Theatre, 11th May, 2001: WORLD PREMIERE
Co-produced with Ranters Theatre
Your Dreaming
Guy Rundle
ANZ Pavillion, Victorian Arts Centre, 1st May, 2001
Co-produced with the Victorian Arts Centre
Public Dancing / Bang! A Critical Fiction
Peter Webb / Margaret Cameron
Beckett Theatre, 6th June, 2001
INSIDE 01, PROG 1
Svetlana in Slingbacks
Valentina Levkowicz
Beckett Theatre, 13th June, 2001
INSIDE 01, PROG 2
Knowledge and Melancholy/ Seven Days of Silence: WORLD PREMIERE
Margaret Cameron / Angus Cerini
Beckett Theatre, 20th June, 2001
INSIDE 01, PROG 3
Ancient Enmity: WORLD PREMIERE
David Hayhow
Beckett Theatre, 27th June, 2001
INSIDE 01, PROG 4
Insouciance: WORLD PREMIERE/ The Prodigal Son
Barry Dickins / Jack Hibberd
Beckett Theatre, 25th July, 2001
Holy Day
Andrew Bovell
Merlyn Theatre, 15th September, 2001: WORLD PREMIERE
Co-produced with State Theatre, SA (world premiere performance The Playhouse, SA Festival Centre, 17th August, 2001)
Nowhere
Dorothy Hewett
Beckett Theatre, 17th October, 2001: WORLD PREMIERE
This Way Up
Elizabeth Coleman
Merlyn Theatre, 15th October, 2001: WORLD PREMIERE
Script unavailable
2002
Enuff
John Harding
Beckett Theatre, 5th February, 2002: WORLD PREMIERE
BLAK INSIDE, PROG 1, co-produced with Ilbijerri Aboriginal and Torres Strait Islander Theatre Co-op.
I Don’t Wanna Play House
Tammy Anderson
Beckett Theatre, 5th February, 2002
(return)
BLAK INSIDE, PROG 2, co-produced with Ilbijerri Aboriginal and Torres Strait Islander Theatre Co-op.
Belonging
Tracey Rigney
Beckett Theatre, 12th February, 2002: WORLD PREMIERE
BLAK INSIDE, PROG 3, co-produced with Ilbijerri Aboriginal and Torres Strait Islander Theatre Co-op.
Casting Doubts/ Crowfire
Maryanne Sam/ Jadah Milroy
Beckett Theatre, 19th February, 2002: WORLD PREMIERE
BLAK INSIDE, PROG 4, co-produced with Ilbijerri Aboriginal and Torres Strait Islander Theatre Co-op.
Conversations with the Dead
Richard Frankland
Carlton Courthouse, La Mama, 13th February, 2002
BLAK INSIDE, PROG 5, co-produced with Ilbijerri Aboriginal and Torres Strait Islander Theatre Co-op & La Mama
Stolen
Jane Harrison
Beckett Theatre, 11th March, 2002
Return season
Still Angela
Jenny Kemp
Merlyn Theatre, 6th April, 2002: WORLD PREMIERE
Svetlana in Slingbacks/ Post Felicity: WORLD PREMIERE
Valentina Levkowicz/ Ben Ellis
Beckett Theatre, 23rd April, 2002
(Svetlana in Slingbacks return season)
Milo’s Wake
Margery and Michael Forde
Merlyn Theatre, 8th May, 2002
Half and Half
Daniel Keene
Beckett Theatre, 11th March, 2002: WORLD PREMIERE
The Simple Truth
Michael Gurr
Beckett Theatre, 6th September, 2002: WORLD PREMIERE
The Fortunes of Richard Mahoney
Michael Gow
Merlyn Theatre, 11th October, 2002: WORLD PREMIERE
Co-produced with Queensland Theatre Company (world premiere performance Brisbane Powerhouse, 9th September, 2002)
Rapture
Joanna Murray-Smith
Merlyn Theatre, 8th November, 2002: WORLD PREMIERE
Your Dreaming
Guy Rundle
Her Majesty’s Theatre, Melbourne, 16th August, 2002
(return)
2003
Mavis Goes to Timor
Katherine Thompson, Angela Chaplin and Kavisha Mazzella
Sidney Myer Courtyard, Southbank, 7th February, 2003: WORLD PREMIERE
Co-produced with Deckchair Theatre Company, WA
God’s Last Acre
Vivienne Walshe
Beckett Theatre, 7th March, 2003: WORLD PREMIERE
The Fat Boy
Tony Ayres
Merlyn Theatre, 4th April, 2003: WORLD PREMIERE
Myth, Propaganda and Disaster in Nazi Germany and Contemporary America
Stephen Sewell
Merlyn Theatre, 30th May, 2003: WORLD PREMIERE
Co-produced with State Theatre, SA
Falling Petals
Ben Ellis
Beckett Theatre, 27th June, 2003: WORLD PREMIERE
Ruby Moon
Matt Cameron
Beckett Theatre, 25th July, 2003: WORLD PREMIERE
Yanagai, Yanagai
Andrea James
Merlyn Theatre, 5th September, 2003: WORLD PREMIERE
Sprung
Cazerine Barry
Beckett Theatre, 10th October, 2003
INSIDE 03: The Technology Project, PROG 1
Mr Phase
Christopher Brown
Beckett Theatre, 10th October, 2003
INSIDE 03: The Technology Project, PROG 2
The Collapsible Man
Gerard Van Dyke
Beckett Theatre, 10th October, 2003
INSIDE 03: The Technology Project, PROG 3
2004
The Ishmael Club
Bill Garner & Sue Gore
Beckett Theatre, 25th February, 2004
Night Letters
Robert Dessaix, Chris Drummond, Susan Rogers
Merlyn Theatre, 1st April, 2004: WORLD PREMIERE
Co-produced with State Theatre, SA (world premiere performance, Queens Theatre, Adelaide, 24th February, 2004)
The Frail Man
Anthony Crowley
Merlyn Theatre, 23rd April, 2004: WORLD PREMIERE
Torrez
Ian Wilding
Beckett Theatre, 27th May, 2004: WORLD PREMIERE
Co-produced with Griffin Theatre Company & Black Sawn Theatre Company (world premiere performance Stables Theatre, Darlinghurst, NSW, 29th April, 2004)
Minefields and Miniskirts
Siobhan McHugh, Adapted by Terence O’Connell
Merlyn Theatre, 14th July, 2004: WORLD PREMIERE
Julia 3
Michael Gurr
Beckett Theatre, 3rd September, 2004: WORLD PREMIERE
The Call
Martin Flanagan, Bruce Myles
Beckett Theatre, 14th October, 2004: WORLD PREMIERE