Each play description below indicates whether there are acts, language or behaviour that may have an impact on some audience members (for example, violence, sex, language, drug use or nudity) and whether those occasions are made reference to, described or enacted.

Please note: the following information also contains ‘spoilers’ which may impact on your experience of the production.


By Joanna Murray-Smith
Directed by Iain Sinclair

Charlotte has invited Tom to crash on her couch for the night. Bartender by night and poet by day, this Berliner has taken pity on an Aussie backpacker with the misfortune to be kicked out of his overbooked hostel.

They met at her bar — one of Berlin’s uber-cool venues — and have just arrived at her bohemian apartment, all shabby chic with one ridiculously large reproduction of a painting by John Constable dominating a wall. They drink, share secrets, flirt and dance around their attraction, until Charlotte takes the reins and kisses Tom.

Later — it is clear that they have now slept together — he is awake and alone and answers a call, terminating it moments later. It was a bad time. Something has shifted. Now he’s romantic with Charlotte, he wants the two of them to flee the apartment, their ‘former’ lives and start it all again, this very second. Charlotte laughs him off — surely coffee is fine for now? Their attraction and the beginnings of what neither can quite believe is love overrides any awkwardness, tension or confusion.

The door buzzer then punctures their bliss. Tom reveals that they didn’t meet by accident. He’s the great-grandson of a Jewish art collector and knows that the Constable is real — that Charlotte’s great-grandfather bought it for a pittance during the Holocaust, having been taken from his family collection. He has come to right the wrongs of the past.

They argue — are they responsible for the sins of their fathers? And if so, how far back? Can we ever really escape the past, do we want to? During this debate, there are references to the Holocaust and related events, such as the gas chambers, Jewish families being taken away to camps and Babbelplatz. [described]

Incomprehension morphs into enmity and hatred, yet still Charlotte abandons the painting and sends Tom out into the darkness of pre-dawn Berlin. Alone, Charlotte digs into a drawer, bringing out a tiny, perfect Klimt. She rushes to her window as the first rays of sun break through it, and calls out to Tom.

Contains coarse language, sexual references, mature historical themes and the use of e-cigarettes.

  • Mature historical themes – references to the holocaust are mentioned throughout the play, but particularly in the final third.

Recommended for ages 15+ / Year 10+

As You Like It

As You Like it

Directed by Simon Phillips

Shakespeare’s warm-hearted pastoral love comedy As You Like It tells the story of two young people who are simultaneously banished by cruel familial betrayals and end up together and in love in the forest of Arden. Pitting the machinations and artifice of courtly life against the natural honesty of the country, As You Like It features Shakespeare’s greatest comic heroine, Rosalind, and some philosophizing by the mournful Jacques. It is at once giddily romantic and deeply humanist.

This production contains choreographed violence, the use of theatrical haze and strobe lighting effects. 

  • Strobe lighting effects - a brief moment of 'lightning' occurs approximately 30 minutes into the production

Recommended for ages 12+ / Year 7+

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