Welcome to Griffin

Griffin Theatre Company is Australia’s new writing theatre. In residence at Sydney’s historic SBW Stables Theatre, we lead the country in developing and producing great Australian stories, and are dedicated to supporting Australian artists.

  • A Rabbit for Kim Jong-il – watch our trailer

    A Rabbit for Kim Jong-il - giant rabbits, spies, double-crossing and oppressive regimes. All from the brilliant mind of Kit Brookman. A Rabbit for Kim Jong-il plays from 10 October – 21 November. Take a squiz at the trailer.

    More info + book.


  • Our 2016 Season Trailer

    2016 is here! Check out the incredible plays, writers, directors, actors and designers heading to the Stables in 2016. 


    Take a look at our 2016 Brochure online and check out our 2016 Season trailer, below.



    Buy your 2016 Subscription here.

Our Blog»

23 September 3:00 pm

Running successfully since 2004, Griffin Ambassadors is an annual access-all-areas program for year 10 to 12 students. Ambassadors might be curious techies, budding playwrights, outgoing performers, or maybe just love going to see theatre! The year-long program of activities includes attending all four Main Stage plays, followed by a Q&A with the cast and creatives; exclusive workshops and an introduction into workings and artistic direction of Griffin. Applications for the 2016 program will be opening soon. Email info@griffintheatre.com.au for further details.

Here is a review of MinusOneSister written by one of this year’s Ambassadors Jo Bradley.

“Two Sisters- Three! – No. Two”

Griffin Independent and Stories Like These united last Wednesday in the premier of Anna Barnes’ modern Greek tragedy ‘MinusOneSister’. This haunting story, led by Luke Rogers’s direction with a talented cast and crew, explores themes of family, grief, revenge and guilt. An adaption of the myth of Electra, this fragmented and non-linear production explores the ways in which violence and anger can destroy a family.

Playwright Anna Barnes has produced a formidable modern adaption of Sophocles’ Electra. Her writing skilfully alternates between the staccato telegraphese of the Greek Chorus and the harsh realism of familial arguments. The script craftily deviates through time and location, Barnes begins a monologue discussing one thing and uses allegory to draw you in before you realise you’ve arrived someplace else.

Director Luke Rogers has created a strong balance in the dichotomy of the fast paced chorus scenes and intense naturalistic dialogue. Interesting too, is his decision to include the “there but not” sister, Iphigenia (Lucy Heffernan), whose angelic presence constantly enforces the corrupted innocence caused by her death.

Four skilled young actors brought this play to life with gusto. Kate Cheel suited Electra perfectly, her vivacious and bitter persona an indicator of the devastating impact of family violence. Chrysothemis, Electra’s polar opposite, is played by Contessa Treffone- an anxious sister attempting to forcibly keep the family together. Liam Nunan brought the young Orestes to life with eagerness and innocence, gradually maturing in response to the horrors he experiences.

A standout of this production is the design. Georgia Hopkin’s dilapidated set is reminiscent of a house under renovations, symbolic of the family’s relationships. The holes on the wall convey the damage sustained, while the plastic covering reflects a failure to ‘fix’ their problems, only to avoid and aggravate them. Sian James-Holland’s sterile and erratic lighting, accompanied by Nate Edmondson’s tense horror music, propelled the scene changes and maintained the fast pace. Despite the gory context of the play, the designers conveyed the dark mood subtly, with clever use of black light and a bloody table.

For someone with limited knowledge of Greek Theatre, this modern adaption definitely spiked my interest to research its classical roots. The writing, design and performance came together brilliantly to produce a fast paced, engaging work that drew you in and spat you out. As the house lights came on, I was reminded of the timeless nature of the themes presented in this 4th century BC classic, and how love, anger, and revenge will always exist in plays, regardless of context.

MinusOneSister is on at Griffin till October 3.

Jo Bradley


22 September 2:38 pm

A Message from Lee 22 September

A rabbit walks into a pub and says to the barman “Can I have a schooner of beer and a Ham and Cheese Toastie”

The barman is amazed but gives the rabbit a schooner and a ham and cheese toastie.

The rabbit drinks the beer and eats the toastie, he then leaves.

The following night the rabbit returns and again asks for a schooner of beer and a Ham and Cheese Toastie.

The barman, now intrigued by the rabbit and the extra drinkers in the pub (because word gets round) gives the rabbit the schooner and the toastie.

The rabbit consumes them and leaves.

The next night, the pub is packed, in walks the rabbit and says “A schooner of beer and a Ham and Cheese Toastie, please barman”

The crowd is hushed as the barman gives the rabbit his pint and toastie and then burst into applause as the rabbit wolfs them down then walks out.

The next night there is standing room only in the pub, coaches have been laid on for the crowds of patrons attending, the barman is making more money in one week than he did all last year.

In walks the rabbit and says, “A schooner of beer and a Ham and Cheese Toastie, please barman”, smiling and accepting the tributes of the masses.

The barman says, “I’m sorry rabbit, old mate, old mucker but we are right out of them Ham and Cheese Toasties”

The rabbit looks aghast, the crowd has quietened to almost a whisper, when the barman clears his throat nervously and says, “We do have a very nice Cheese and Onion Toastie”

The rabbit looks him in the eye and says, “Are you sure I will like it”?

The masses bated breath is ear shatteringly silent.

The barman, with a roguish smile says, “Do you think that I would let down one of my best friends, I know you’ll love it”

“Ok” says the rabbit,” I’ll have a schooner of beer and a Cheese and Onion Toastie”

The pub erupts with glee as the rabbit quaffs the beer and guzzles the toastie, he then waves to the crowd and leaves.


One year later in the now impoverished pub, the barman calls time.

When he is cleaning down the now empty bar, he sees a small white form, floating above the bar.

The barman says, “Who are you”

To which he is answered,”I am the ghost of the rabbit that used to frequent your public house”

The barman says,”I remember you, you made me famous, you would come in every night and have a schooner of beerand a Ham and Cheese Toastie, masses came to see you and this place was famous”

The rabbit says, “Yes I know”

The barman said, “I remember, on your last night we didn’t have any Ham and Cheese Toasties, you had a Cheese and Onion one instead”

The rabbit said “Yes, you promised me that I would love it”

The barman said “You never came back, after that fateful night, what happened”

“I DIED”, said the Rabbit.

“What from?” said the Barman.

The Rabbit replied

“Mixin me toasties.”

With love from the cast of A RABBIT FOR KIM JONG IL.
And Lee

Lee Lewis
Artistic Director
Griffin Theatre Company

8 September 11:27 am

Kit Brookman on a Rabbit for Kim Jong-il

This play is not a true story, but it is inspired by one.

In 2006, in Germany, a breeder of giant rabbits was approached by the North Korean government to acquire a number of his rabbits, ostensibly for a breeding program to be set up in North Korea. He agreed to sell his rabbits. No one quite knows what happened next, except that his invitation to go to North Korea to oversee the creation of a rabbit-breeding program was abruptly cancelled without explanation.

How does one grapple with the idea of North Korea? The concurrent absurdity and horror of the place makes for a confusing mix. It’s the world’s most isolated nation, repressive at home and belligerent abroad. We’re used to hearing strange stories, most of which stem from what might be called the eccentricities of its tyrannical ruling dynasty. Many of these seem too strange to be true. They defy belief. Read more…


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