29 March 12:22 pm

A Note from Lee, 29 March

There are moments in time when plays talk directly to each other. When the smallest theatre in town and the biggest theatre in the country are telling the same story in vastly different ways. When the playwrights zero in on an idea and the plays manifested are joined at the political hip, regardless of the budget of the productions.

There are two performances onstage in Sydney that you must see if you want a 2018 snapshot of political leadership seen through the eyes of Australian playwrights. The first is Rebecca Massey as Gwen Malkin, Minister for the Environment in David Finnigan’s Kill Climate Deniers. The second is Hugo Weaving as Arturo Ui in Tom Wright’s translation of Bertolt Brecht’s play The Resistable Rise of Arturo Ui down at the Roslyn Packer Theatre.

Both are virtuosic performances. Both actors have created frighteningly real portraits of power in this age. One is a clown, one is a tyrant. Neither offers comfort as we face an uncertain future. One is written by a young, passionate activist playwright used to making provocative works on the fringes, the other is from Brecht by one of our most established adaptor/translators who works in the heart of our biggest companies. Together, they exemplify the strength and range of new Australian writing.

You have one more week to see Rebecca Massey. You have one month to see Hugo Weaving. It’s not a competition between companies, it’s a conversation. But can Hugo Weaving pole dance? That’s all I’m saying…

Eat a lot of chocolate this weekend and I’ll see you at the gym next week.


Lee Lewis
Artistic Director

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