Knock And Run Theatre is proud to announce Play Date: Elementary, the latest iteration of its short play festival celebrating new writing, emerging artists, and experimental performance.
Returning on February 21st at The Laneway Theatre (also known as Newcastle Theatre Company), Play Date: Elementary will present a curated program of short plays responding to the theme “Elementary” – interpreted by artists in playful, abstract, and unexpected ways. The festival showcases a diverse lineup of writers and directors, each bringing a distinct voice and theatrical approach to the stage.
Following an open call that attracted a high volume of submissions, a script assessor (nationally acclaimed playwright Vanessa Bates) chose 9 short plays to be developed and presented as part of the festival. The final program reflects a wide range of styles and perspectives, united by a spirit of curiosity, invention, and bold storytelling.
“Play Date is about creating space for artists to take risks,” says James Chapman, Play Date festival director. “Elementary gave writers permission to strip things back, flip expectations, and approach theatre with a sense of play. The selected works are surprising, smart, and full of energy.”
Play Date has become a key platform for emerging and independent theatre-makers in the region, offering opportunities for writers, directors, and performers to collaborate on new work within a supportive and creatively ambitious framework. The festival prioritises accessibility, simplicity of production, and strong artistic voice.
This year’s festival includes short plays such as “Fridge” by Joshua Maxwell, “Her Element” by Nat Newman, “Cow Juice: An Origin Story” by Dez Robertson and “The Escape” by Alison Lancey. This year’s Play Date is the third iteration of the festival following Play Date: Time & Space (2021) and Play Date: Four Seasons (2025) and will feature multiple short works presented across a mixed bill, with performances at 2pm and 7:30pm on Saturday 21st Feb. Tickets are on sale now and are available via https://events.humanitix.com/play-date-elementary, with full program and artist announcements to follow.
EVENT DETAILS What: Play Date: Elementary Presented by: Knock And Run Theatre When: 2pm & 7:30pm Saturday 21st, Feb Where: The Laneway Theatre, Lambton Tickets: https://events.humanitix.com/play-date-elementary
Written and originally performed by the production company ‘Starkid’, UoN Musos recreation did justice to the quirky and whacky storyline that puts the drama in melodrama, hitting the comedic beats despite, or because of, the chaos unfolding everywhere else.
When the cast and crew all enjoy the show as much as this one did, despite weeks of rehearsals and run-throughs, you know you are in for a treat. While putting on a fantastic show of lights, the techies were laughing along at the jokes, bopping to the sound track, and showing their passion in every movement they made, in tandem with the cast.
There were some minor tech issues that are common with the opening show – volume issues with lines being drowned out and microphones having a delay in being turned on – but in no way do I fault the crew as the Warners Bay Theatre is well-known to me as one with difficult tech to run.
As well, the cast were a phenomenon to witness, with all members bar two successfully performing multiple quick changes into a variety of characters, giving their all to each of the characters and their idiosyncrisies they played. Paired with a fabulous choreo, a show-stopping soundtrack, and singing voices as strong as the set design, this community show is one our local community can be proud of.
Performances until 23rd of November.
Warnings: Contains heavy use of strobe lights and fog machines, heavy swearing and sexual references. Contains death and gun sound effects.
The festive season has officially begun at Newcastle’s Civic Playhouse. The decorations are hung and the trees are glowing, creating a perfect Christmas atmosphere for A Very Newy Christmas to spread jolly Christmas spirit to local Novocastrians. A Very Newy Christmas is proudly presented by UpStage at the Playhouse and One for the Road Productions, with creative direction by Bronwyn Sartori.
A Very Newy Christmas is a fabulous original play by Newcastle’s talented Playwright, Nat Newman, who has created a highly entertaining script overflowing with humour and a decent sprinkle of Christmas cheer. The script is bursting with pride for our fantastic city of Newcastle, where we are lucky to reside in.
The plot of A Very Newy Christmas revolves around newly divorced Betty (Denni Mannile) and Trish (Connie Voisey-Barlin). They are navigating their newly single paths after decades together and rediscovering their own identities. Both Mannile and Voisey-Barlin presented a truly heartfelt, convincing performance never straying from dedicated authenticity in their well-developed characters. We see Betty struggling with newfound feelings for the easygoing, fun-loving younger man Joey, admirably delivered by Tony Gleeson. Tony’s onstage chemistry with Denni felt sincere and natural and I also thoroughly enjoyed his back and forth antics with his classic Australian larrikin colleague, Simmo, who was enthusiastically delivered by Daniel Bourke.
As Betty and Trish struggle to maintain amicability between themselves, they are also struggling in their relationships with their shared adult children Pax (Nicholas Pavan) and Annabel (Stephanie Lee). The family breakdown has inflicted major changes and stresses upon Pax and Annabel. As a result, they too are questioning their life choices and meaning. Nicholas Pavan gave an honest portrayal of Pax and clearly depicted his anxiety as he grapples to process the changes to his family. Pax’s sister, Annabel, was marvellously played by Stephanie Lee, who illuminated the stage. I recently had the pleasure of watching Stephanie in another production and both times I have found her performances captivating. She has a delightful stage presence and an innate talent for acting.
Luke Consani gave an earnest presentation of the elusive, somewhat cryptic, character Myron, who spread goodwill and wisdom to those he encountered. He may even have possessed a little Christmas magic, but I’ll leave that up to your interpretation.
A Very Newy Christmas had the theatre packed and the audience roaring with laughter throughout. This was one of the best turnouts I have seen in some time at the Playhouse and it was truly wonderful to see the support and interest the play has invoked. A Very Newy Christmas is a must-see for every Novocastrian, shedding light on real-life issues and comedy central to everyone in our community. With oodles of inside jokes for Newcastle locals and a good dash of Christmas spirit I would love to see this on seasonal rotation.
Cats in the Cupboard Productions have magnificently presented an Australian debut of This Restless House at Newcastle’s Civic Theatre Playhouse. This award-winning production written by British playwright Zinnie Harris is a reimagining of the ancient Greek tragedies originally written by Aeschylus in the 5th century BC. In true Greek tragedy style, the heart-wrenching plot is fuelled with murder, revenge and sacrifice.
From the moment I entered, I was captivated by the three Fates characters played by Elen Attard, Kira Woods and Ryan Gladman who sat aesthetically mounted on a peak of stacked crates, blowing bubbles. The dynamic trio’s sensational costumes, hair and makeup and overall mystical presence was commanding throughout. They worked together in a somewhat chorus-like manner with dialogue, actions and singing in well-rehearsed unison. Mikaela Corrigan’s choreography for the Fates was excellent, and I also thoroughly enjoyed her choreography for Orestes, played by Ronan Myatt-Kane. Nicholas Pavan’s choreographed comedic dance scene, including suave and stylish disco moves, brought the house down.
Nicholas Pavan also expertly doubled as the lovestruck Watchman and then Michael- the head doctor in the psychiatric unit. Nicholas’ outrageous adult scene with Ianthe, played by Liz Vassilacos, showed commendable skill and dedication. Liz Vassilacos, as Audrey, showed remarkable depth in her contrasting role as a psychiatrist. Her character’s plummet into the abyss of somber paranoia was portrayed exquisitely.
Agamemnon, played by Benjamin Louttit, shattered the audience in his explosive opening scene with his daughter Iphigenia (delivered by Stephanie Lee.) I can still hear Stephanie’s blood-curdling screams and feel Benjamin’s angst and sorrowful heartbreak as he sacrifices his daughter.
This harrowing scene, like other intense moments, was amplified by the disturbing, eerie soundtrack and exemplary lighting techniques. The soundtrack utilised subliminal messages and wormed its way supernaturally through my veins; at times resting, then pumping to the brink of nausea. The lighting provided a perfect companion to the sound and action with stellar use of colours mirroring themes. The strobe lighting intensified the stage horror and overloaded my senses.
Claudia Bedford engaged the audience as the enraged queen Clytemnestra. Driven to drink and a steep decline in her humanity after her husband’s great betrayal and tragic loss of her young daughter, Claudia delivered this spiralling character with great power and gust. Claudia’s torturous scene with Lily Cox as Cassandra similarly impaled the horrified audience. Lily’s severed tongue scene was grotesque, gut-wrenching and brilliantly delivered.
The unfortunate Butcher, essentially Clytemnestra’s henchman, was portrayed by Dean Nash. Dean’s performance was sincere throughout and flawlessly demonstrated his conflict with duty and personal ethics. His anguish was clearly visible performing his Queen’s unholy demands.
Ruby Page ignited the stage as Electra—the neglected, tormented daughter who develops a thirst for justice after reuniting with her brother Orestes. The pair fan each other’s fury towards their mother, leading to an explosive vengeance. Ruby’s character transformation throughout was remarkable. Electra, initially a neglected child, develops into a vengeful teen and then rendered engulfed with regret and traumatised.
Cats In The Cupboard have shown a most admirable commitment to sustainability by handcrafting most of their brilliant costumes. Creatively sourcing second-hand items and repurposing them into unimaginable sparkling splendour. I loved all the bling, glitter, and boldness of the costumes. In particular, the costumes of Aegisthus, played by Justin Rose, were absolutely dazzling as was his performance, and the plentiful costume changes kept things continuously visually striking.
This Restless House whisked the audience away into an experience that will linger on. Mikaela Corrigan’s direction of this incredibly talented cast and production team is absolutely stupendous. The meticulous attention to the lighting, costumes, hair and makeup and soundtrack was professional in every aspect. The innovative use of many levels and spaces utilised the small theatre in such a way that gave the clever illusion of being worlds larger. This Restless House was without doubt one of the most impactful and magnificent plays I have seen…ever! Boldly unique, utterly harrowing at times and ever-fast, brilliant.
