Season 2026

My Brilliant Career

Contains mature themes and theatrical haze effects.

Recommended for ages 11+ / Years 6-12 

Mature themes 

Sexual references 

• Harry propositions Sybylla. After she falls, he catches her and holds her in a physically intimate pose. 

• Sybylla describes in comic, sexually charged language what Harry's body looks like. 

• Several characters are referred to in sexually objectifying language by other characters 

• Several characters refer to Sybylla in ways that shame her for her sexuality 

• Several characters express the desire to kiss Sybylla, or their expectation that she will kiss them 

• Harry misreads a situation and tries to kiss Sybylla 

• Peter removes his shirt in a way that is unconsciously sexually suggestive 

References to death and dying 

• Drought and the death of a sick cow are key moments at the start of the play. 

• A gunshot (represented by a drum beat) signals that a cow has been shot. Two characters briefly and mistakenly believe that one of the characters has shot themselves. 

• Sybylla and other characters refer to death several times throughout the play as a figure of speech, in existential reflection, as a possible and future event, and/or as a flippant remark. There is no depiction of death on stage. 

• Death in childbirth and the loss of children are referred to. 

References to enslavement 

• Sybylla describes being stuck on the farm as enslavement, and the experience of women as slavery. 

Depictions of animal cruelty 

• Drought and the death of a sick cow are key moments at the start of the play. 

• A gunshot (represented by a drum beat) signals that a cow has been shot. 

References to alcoholism 

• There are references throughout to Sybylla’s father who struggles with alcohol addiction.  

References to suicide 

• A cynical joke about suicide and hell is made by Sybylla and appreciated by Lucy.  

Depictions of violence 

• Sybylla hits and/or threatens to hit several characters in the play with her fists and a riding crop. 

• Sybylla, Horace and Gertie fight physically on numerous occasions 

• To “test” her character, Harry cracks a whip dangerously close to Sybylla 

• Harry grabs Sybylla by the wrist, causing her pain, and releases it upon her request. 

• Sybylla uses corporal punishment when tutoring young people from the neighbouring family by striking one boy repeatedly with a rod. 

Depictions of sexism and misogyny 

• Sexism and misogyny are depicted as an everyday part of the world in which Sybylla lives. This manifests in many different ways and Sybylla rails against it. 

Physical production elements 

Theatrical haze effects 

• Theatrical haze is used throughout.  

Updated 17 October 2025

Do Not Pass Go

Contains mature themes.

Recommended for ages 15+ / Years 10–12

Note: Do Not Pass Go is a new work being developed through our Next Stage Writers’ Program. Development on the script will continue right up until opening night. The following content guide will continue to be updated accordingly. 

Mature themes 

References to death

• Flux references their grandfather’s death as happening twice: firstly when he left the office and then his body 12 years later. 

• Penny states she doesn’t want to work until she’s dead. 

Sensitive commentary in relation to gender / and body 

• Flux is talking about having met their boyfriend at a lesbian rave and Penny asks, “are they a girl-they or a boy they?” Flux replies that’s not how that works. After time flux says, “girl they”. 

• Penny questions why Flux wants gender-affirming surgery and whether they’re subconsciously delaying it because they might not actually want it. Penny refers to herself as “someone who doesn’t feel the need to… alter or mutilate or improve or change” her own body. 

• Flux reflects on their motivations for surgery, wondering if they are conforming to society’s aesthetic standards of gender and questioning if this makes them a hypocrite—choosing personal vindication over political positioning. The conversation ends with Penny asking Flux if it will make them happy. Flux is unable to respond. 

Reference to murder 

• Flux and Penny discuss an attempted assassination of a CEO, where the shooter’s gun jammed and security shot the assailant in the head. The CEO wet himself during the incident. Flux finds it amusing; Penny does not. 

Reference to Fascism 

Flux and Penny discuss fascism’s presence in horror. It turns into a conversation about gun violence. 

• Flux references mass protests and strikes in response to torture and to pressure the government to stop producing bombs. They mention they did not attend the general strike because they had to work. 

Reference to gambling 

• Flux compares collecting items to gambling. 

Discussion and reference to mental health and medical references 

• Flux and Penny discuss mental health, developmental disorders, and treatments including medication. 

• Penny and Flux discuss the psychological impact of climate change on Penny’s daughter, describing it as contributing to anxiety and “pre-traumatic stress syndrome.” 

• Flux and Penny discuss a rumour that the CEO had a mental breakdown. 

• Flux asks Penny if she has depression after she abruptly leaves the office. 

• Penny mentions her daughter is about to start a slow-release version of the same ADHD medication she uses. 

• Flux names several medications, including dextroamphetamine, methylphenidate, Adderall, Ritalin, and Vyvanse. 

Reference to cancer 

• Penny wishes cancer upon a specific (unnamed) fascist. Flux responds, “Cancer’s too slow.” 

Sexual references 

• Flux kisses Penny after delivering a long monologue about love and capitalism. 

Updated 17 October 2025

West Gate

Contains frequent coarse language, racially sensitive language, and mature themes. 

Recommended for ages 15+ / Years 10–12

Note: West Gate is a new work being developed through our Next Stage Writers’ Program. Development on the script will continue right up until opening night. The following content guide will continue to be updated accordingly. 

Coarse language 

• There is frequent coarse language including the words “fuck”, “fucken”, “fucked”, “shit”, “fucked”, “cock”, “cockup”, “bullshit”, “whore”, “bastards”, “prick”, “cunt”, “bastardo" and “tossa”. 

Racially sensitive and racist language 

• Contains the word wog used both as a slur and as a reclaimed self-identification. 

• Contains the use of the word convict. 

Ableist language 

• Pat asks Vinny if he is a “schitzo.” 

• Cooper refers to an injured Vinny as a “cripple,” suggesting he is no longer employable. 

Mature themes 

Sensitive racial content 

• Young Scrapper, at the union meeting tells the ‘wogs’ not to vote to go back to work to facilitate bringing more of their family over to Australia. 

Reference to and depiction of alcohol and alcoholism 

• Some of the men are doing knock off drinks at the pub and drinking beer. 

 Depiction of a bridge collapse causing death and injury and depictions of dead bodies 

• A major dramatic event in the play is the West Gate Bridge collapse, which is depicted in violent and graphic terms. McAlister falls and is hit by a beam dying, Victor has a reo bar speared through him. Scrapper is trapped under a beam. Victor dies holding Scrapper’s hand and Scrapper panics. 

• Pat stands in the rubble of the collapse, with dead bodies around him. 

• Act Two frequently references and discusses the dead from the West Gate Bridge collapse. 

• Worker explains at the union meeting that Butters’ body had been dug up from the mud with signs of rats chewing at the body. 

• Worker explains that George was so badly burned he was identified by his belongings.  

Updated 17 October 2025

The Glass Menagerie

Contains mature themes, ableist and racist language. 

Recommended for ages 14+ / Years 9–12

Ableist language 

• Laura refers to herself, and is referred to by others, as “crippled.” 

Racist language 

• Contains racist language including the word “darky” and phrase “work like a Turk” 

• Amanda refers to slavery as “gracious living”. 

Mature themes 

References to alcohol and alcoholism 

• References to alcohol including wine, beer and whiskey 

• Amanada confronts Tom on his drinking and references how Tom’s father was a drinker. She talks about how she thinks Tom is escaping through alcohol and the movies. 

• Laura drinks some dandelion wine. 

Sexism and sensitive commentary around gender 

• After conversation about the lack of gentlemen callers for Laura, Laura declares “Mother’s afraid {I’ll} be an old maid”. 

• Amanda makes it clear to her daughter that unmarried women without a job are pitiful. 

• Tom calls his mother an ugly witch. 

• The narrative reinforces pressure on Laura to find a man, suggesting that marriage is essential to her security and future. 

Homophobic and sensitive commentary on LGBTQIA* issues 

• Amanda confiscates Tom’s books and upon his confronting her she responds that she “cannot control the output of diseased minds” but she will not allow “such filth brought into my house”. She goes on to say her son should be ashamed for his actions. While never explicitly stated, this confrontation is widely interpreted as a veiled reference to Tom’s queerness and his mother’s disapproval.  

Updated 17 October 2025

Shoelace Chaser

Contains mature themes and occasional coarse language. 

Recommended for ages 12+ / Years 7-12 

Note: Shoelace Chaser is being developed through our Next Stage Writers’ Program. Development on the script will continue right up until opening night. The following content guide will continue to be updated accordingly. 

Coarse language 

• There is occasional use of coarse language including “bitch” and “fuck”. 

Mature themes 

Depictions of chronic illness and caring 

• Fiona – Thea’s mum – needs extra care for an unnamed chronic illness that was diagnosed after an accident in the past. Fiona experiences loss of muscle control, pain, memory loss and cognitive delays. Thea feels some guilt for "missing the signs” of her mother's illness. 
• Throughout the play we see Thea caring for her mother. This includes dispensing pills, completing tasks for her mother, organising appointments, administration and shopping. Thea explains to Syd other elements of her caring responsibilities, including shaving Fiona, dressing her, cooking and cleaning.

Sensitive racial commentary 

• Syd playfully experiments with different accents during a phone conversation. Thea joins in, exaggerating one of the accents. Syd briefly comments on the accent possibly being offensive before clarifying it as a joke. 

References to medical and welfare systems 

• Fiona and Thea discuss the outcome of a medical review and welfare obligations. Thea expresses concern for Fiona’s health and suggests getting a second opinion as a way of navigating the requirements of the welfare benefit.  

Sexual references 

• Fiona makes flirtatious comments about a healthcare professional’s appearance. 

Sensitive commentary on gender and sexuality  

• Thea asks Syd about their parent’s response to their queerness. The two have a conversation about Syd’s mum being an ally and accidentally outing them.  

Reference to body injury 

• Syd refers to a rumour that Thea lost all their toes in a barefoot kitchen accident by dropping a knife on her foot. 

Depiction of a panic attack 

• Syd experiences a panic attack, with rapid breathing. Thea guides them through a grounding exercise using sensory awareness and Syd recovers quickly. 

 Updated 7 November 2025

Retrograde

Contains coarse language and mature themes, including racially sensitive commentary and depictions of racism.

Recommended for ages 14+ / Years 9–12 

Coarse language 

• Frequent coarse language throughout the play including “shit”, “bullshit”, “apeshit” and “shitting”. 

Mature themes 

Depictions of racism, racial slurs and sensitive commentary on race 

• The play opens with Mr Parks and Bobby discussing Sidney Poitier, referring to him as “black, black.” Mr Parks questions whether Sidney holds American values. 

• Mr Paks speaks to Sidney in a suspicious manner with racist undertones. 

• Use of the word negro. 

• Mr Parks refers to “your people” when speaking to Sidney about Black Americans. 

• Mr Parks questions Sidney’s believability in a previous role because he is “coloured,” mocking the idea that white dockworkers would call him “sir.” 

• Implied reference to slavery: Mr Parks states it would be a lie to say a house in the American South didn’t have a “negro maid.” 

• Mr Parks reminds Sidney to “know his place,” with veiled threats if he challenges the racial hierarchy. 

• Mr Parks uses the term blacklisted, referencing industry exclusion. 

Reference to and depiction of alcohol use 

• Alcohol is consumed throughout the play, including brandy, whisky, and scotch. 

• Mr Parks and Bobby peer pressure Sidney to have an alcoholic drink. 

Depictions of sexism and sensitive commentary around the role of women 

• Mr Parks makes a sexist remark about Sidney’s wife, saying: “face powder to catch a man, baking powder to keep him.” 

• Sidney is teased for caring what his wife thinks. 

• Mr Parks tells Bobby to treat Sidney “like a broad.” 

Politically sensitive commentary 

• Mr Parks accuses Sidney of being too closely aligned with communism due to his connection with Harry Belafonte. He pressures Sidney to take an oath of loyalty and ultimately accuses him of being a Communist. Mr Parks demands an answer to his questions about Sidney’s politics despite Sidney’s protest at this breach of rights. 

• Mr Parks drafts a defamatory statement about Paul Robeson and attempts to coerce Sidney to sign it.  

Depictions and references to threats of violence 

• Mr Parks and Sidney wrestle over a paper. 

• Mr Parks threatens to slap Bobby. 
  
  
• Reference to Paul Robeson making the argument for the USA to be ‘guilty of genocide’. 

 Updated 17 October 2025

Losing Face

Contains coarse language and mature themes. 

Recommended for ages 15+ / Years 10–12

Note: Losing Face is a new work being developed through our Next Stage Writers’ Program. Development on the script will continue right up until opening night. The following content guide will continue to be updated accordingly. 

Coarse language 

• There is frequent use of coarse language throughout including “fuck” and occasional variations including “fuckable” and “fucking” 

Mature themes 

References to and depictions of cosmetic surgery  

• The play follows three women who attend a luxury wellness resort, unaware that the resort seeks to upsell cosmetic procedures to its unsuspecting guests. 

• The play contains frequent references to cosmetic surgery including but not limited to a butt lift, pokertox, face lift, Botox, colon cleanse, eye lift, tummy tuck and labiaplasty 

• Jo is seen post-butt lift. 

• Lauren appears after breast augmentation with heavily bandaged, enlarged breasts and an infected labiaplasty. 

• Simone has had her face and neck tightened. 

• Lauren thinks she is seeping from her wounds. 

Reference to cancer 

• Lauren and Simone read Jo’s diary and speculate—based on a list of medications—that Jo may have had a brain tumour. 

References to and depiction of alcohol and drug use 

• Reference to drinking throughout. Characters are depicted drinking various forms of alcohol including wine, tequila and margaritas. 

• References to MDMA. 

• Jo presents the group with cocaine. The group have some back and forth about whether to consume the cocaine. They decide to. 

• Lauren mentions taking amyl and dexamphetamines ("dexies") the previous night. 

• Simone mentions breaking Jo out of a rehab in the past. 

References to death including depiction of and interaction with a corpse 

• Simone takes a selfie with a coffin in the background. 

• Lauren references flowers being sent by Simone post her mother’s death. 

• Tomas talks about how approaching 40 was like approaching death whilst encouraging anti-aging interventions. He goes on to explain that he is fighting death and will never die. 

• Tomas reveals there is a clause in the contract which allows for him to take possession of a body and use parts of the corpse’s body for cosmetic surgeries on other guests, should a client become deceased on premises. 

• Lauren and Simone discover Jo is no longer breathing – after the audience witness an unmoving Jo across a day that also involves a visit from both the maid and nurse. 

• Simone and Lauren try to move the dead Jo but instead hide her and attempt an escape from the resort. This forms the basis of a series of comedic events across the remainder of the play as Jo’s body is continually moved around the resort. 

• Tomas finds Jo’s body slumping out of the fold down ironing board and moves her body onto a sunlounge where another guest chats to her thinking she is just unresponsive or rude. 

• Simone and Lauren find another guest dead in an ice bath and leave her. Tomas and the nurse later find the deceased guest and prepare to harvest parts of her body for use on others guests’ surgeries, before the guest unexpectedly awakens. The moment is played comedically. 

Reference to diarrhea and vomit 

• Lauren asks Simone if she’s ever cleaned diarrhea from a butane stove in response to being asked about a recent camping trip. 

• Jo reminisces about when she got arrested for drawing a dick and balls on the Louvre and she laughed so hard she vomited. 

 Updated 17 October 2025

Uncle Vanya

Contains frequent coarse language and mature themes. 

Recommended for ages 14+ / Years 9–12

Coarse language 

• Frequent coarse language including the words “shit”, “shitload”, “fucking”, “prick”, “fuck-wit”, “bitch” and “bitches”. 

Mature themes 

References to and depiction of alcohol and alcoholism 

• References to vodka and brandy. 

• Astrov and Nanny converse about how he drinks every day. 

• Yelena and Vanya discuss Vanya’s alcoholism. 

• Astrov is drunk and tells the room. 

• Sonya asks Vanya about his alcoholism. 

• Sonya and Yelena have a drink of wine as they talk. 

References to medical negligence and death 

• Astrov talks about having typhus, hallucinating with fatigue and having to stitch a patient up after a terrible accident resulting in the patient dying. 

• Astrov expresses that being dead may be a form of peace. 

Sexist and sensitive commentary around gender 

• Vanya criticises his mother’s focus on death and women’s liberation, claiming death is the more interesting topic. 

• Yelena accuses Vanya of not being able to tolerate women that do not belong to him. 

• Yelena is much younger than her husband Serebryakov and this is discussed throughout the play, in reference to her ‘moral obligation’ to cheat, in reference to Serebryakov’s fear he is unattractive to his wife. 

• Vanya is besotted with Yelena’s physical beauty and discusses his unrequited attraction and desire to be with her throughout the play. Several male characters comment on Yelena’s beauty and desirability throughout the play. 

References to suicide 

• Vanya says it’s a perfect day to hang oneself. 

• Astrov suggest Vanya practises firing a gun on himself. 

Depictions of physical intimacy 

• Vanya kisses Yelena’s hand. 

• Astrov kisses Sonya’s cheek. 

• Yelena and Astrov passionately kiss multiple times. 

• Serebraykov kisses Sonya. 

• Vanya kisses Yelena three times. 

 Updated 17 October 2025

The Jungle and the Sea

Contains mature themes, occasional coarse language, and the use of haze and loud sound effects. 

Recommended for ages 15+ / Years 10–12

Coarse language 

• There is occasional use of coarse language including the words “whore”, “motherfucker” and “shit”. 

Mature themes 

Depictions and references to war 

• The play depicts the personal stories from one family’s experiences throughout the final stages of the Sri Lankan civil war. There is frequent discussion and references to war and the conditions that come with that throughout the play. In the majority of the play, the conditions of war are described rather than depicted and when enacted are done so in a stylised, choreographed manner. 

• Reference to a church being bombed. 

• There is specific reference to herding civilians into a small area on the Nanthikadal lagoon to carpet the area with bombs to induce mass casualties. 

• There is depiction of gun violence between a soldier, commander, Madhu and Ahilan; this is enacted in a non-naturalistic manner, with musical effects rather than gunshots and choreographed movement to depict death. The guns used in this depiction are accurate, realistic replicas. 

• Depictions of and references to trauma 

• Abi performs funeral rites for her brother, which was prohibited under new laws. This act prompts debate about whether she acted rightly or should be punished as a “terrorist collaborator.” 

References to dead bodies 

• Ongoing references to death and the presence of bodies – specifically the innocent casualties of war. 

Depictions of violence 

• Salim physically attacks Siva, blaming him for the death of Salim’s baby. 

Depictions of drinking alcohol 

• Lakshmi and Siva drink some win to celebrate Lakshmi’s graduation. 

Sensitive commentary on lesbianism 

• Lakshmi comes out to her father and declares that she is in love with a woman named Claudia. Her father is not comfortable but trying to be accepting they go back and forth until he declares his love for his atheist Australian lesbian daughter. 

Physical production elements 

Use of haze 

• Theatrical haze is used throughout. 

Loud sound effects 

• The production utilises dynamic sounds, including sounds of artillery fire and war. At various points drums/musical instruments are used to depict gunfire.

Updated 17 October 2025

Eliza

Contains mature themes, including references to violence towards women and the Holocaust. 

Recommended for ages 15+ / Years 10–12

Note: Eliza is being developed through our Next Stage Writers’ Program. Development on the script will continue right up until opening night. The following content guide will continue to be updated accordingly. 

Mature themes 

References to the Holocaust 

• Joseph tells C that he is a German Jew who fled as a child after officers visited and detained his father for a week. Upon his return, the family fled. 

• Joseph recounts the story of French composer Olivier Messiaen, who was captured during the German invasion and sent to a Stalag (prisoner-of-war camp), where he was given pen and paper and composed music inspired by birds he heard in the camp. 

Complicated family dynamics 

• References to Becky’s father being overbearing, controlling and a bully. Becky talks to Eliza about this; a transcript is taken to include in the presentation of findings and is referenced again later. 

Depictions and references to sexism, misogyny and sexual violence towards women 

• Joseph recalls an incident in which his father interrupted his mother’s bath, made her stand and turn in front of his friends to show her naked body, despite her clear embarrassment. 

• Joseph comments on the significant age difference between his parents and the power imbalance in their relationship. 

• Joseph reflects on his childhood nannies, saying they would often quit after spending time alone with his father. He suggests to T that his father may have inappropriately touched a nanny he cared for. 

Sensitive commentary on race 

• When Ronald refers to their conversations as being “very German”, Joseph replies: “No! If it was German, there would be murder. Suicide.” 
• A journalist tells Joseph to not be so “European”. 

Updated 17 October 2025

Before I Forget

This production contains coarse language, nudity, references to and depictions of dementia, references to death, drug use, and mature themes. Aboriginal and Torres Strait Islander peoples are advised that this production contains references to deceased people. 

Recommended for ages 16+ / Years 11–12

Note: Before I Forget is a new work being developed through our Next Stage Writers’ Program. Development on the script will continue right up until opening night. The following content guide will continue to be updated accordingly. 

Coarse language 

• Frequent use of coarse language throughout, including both the words: “fuck”, “bloody”, “shit” and “bitch”, and variations of these words. 

References and depictions of Dementia 

The character of Faith has early onset dementia and her experience of this, along with the experience of her family around her, is a central premise within the play. Faith is depicted losing lucidity, becoming disorientated, misplacing and losing items, forgetting things, including forgetting who her granddaughter is, and confusing people for other people. Specific moments include: 

• Faith is delivering a lecture about language reclamation when she loses lucidity, becomes disoriented, and sees her deceased mother. A colleague helps her off stage. 

• Faith loses her house keys. She insists they were in a particular bag, which she later denies owning. The bag is eventually found beneath her; she does not recall it being hers, though it contains her belongings. 

• Faith can’t recall why she has money for her son. 

• Faith forgets she gave Hope a special scarf and takes it back. Later, she gives it back to Hope as though she has forgotten the previous interaction. 

• Faith forgets who her granddaughter Hope is. 

• Faith describes her son Jet as having 10 kids and many accomplishments – these things turn out to be untrue. 

• Faith mistakenly believes she was speaking to Jet and his girlfriend, when in fact she had been harassing strangers, prompting police intervention. She says, “Fuck the cops.” 

• Faith repeats the same story about her father several times. 

• Faith mistakes her son Jet for her father 

• Karma discusses Faith’s diagnosis during a phone call with her partner. 

• It is revealed that police previously found Faith lost and distressed in Townsville. 

• Karma finds an old diary and reads it, revealing Faith has been struggling with symptoms of dementia for much longer than her family realised. 

• Hope reads out a poem found in Faith’s diary written by Faith making reference to memory loss 

Mature themes 

Sensitive commentary around moving into a nursing home 

• Faith, Karma and Hope have a tense conversation about Faith moving into a nursing home. Faith does not want to leave her house, even though the has been sold, and the new owners move in in two days. 

• Faith is distressed by the packing up of her life and ephemera into boxes. 

References to death and dying 

• Faith says the new owners will move in “over [her] dead body.” 

• A scene shows the women completing Faith’s medical and end-of-life forms, including preferences for intubation. All become emotionally distressed. 

• Faith is overwhelmed by filling out the last wishes and medical forms and cries “you’re trying to kill me” to Karma. 

• Faith reflects that she will one day become a star. 

• Hope and Faith have a living wake / ceremony for Faith including eulogies. Jet arrives, thinking his mother has died. 

• Faith is depicted in a hospital bed in the late stages of her life – she has a moment of lucidity but is mostly listless and silent in her bed. 

• Kamra delivers a eulogy for her mum. 

References to assisted dying/euthanasia 

• Faith says that Jet would help her end her life (euthanasia). Karma reminds her that this would be murder 

Sensitive commentary around race 

• Faith calls Karma and Hope “white maggots”. 

• Faith tells Hope not to refer to herself as Black – “not even a quarter” – before inviting her to dance with the ancestors. 

Reference to colonial violence 

• References to colonisation, massacres, forced removal from land, and slavery are made by Faith while discussing her great-great-grandfather. 

• The women talk briefly about the lack of burial provided to massacred ancestors. 

• Nana Wells, via an audio recording, tells the story about when she was forcibly removed from her family home and community. 

• Nana Wells references massacres that occurred that her husband (Faith’s father) survived at age 4. 

References to self-harm 

• Faith suggests Karma could use a rock to harm herself. 

References to coercive control and sexual violence 

• Throughout the play, Hope is repeatedly seen texting or taking phone calls from her partner. During several of the calls Hope can be seen (but not heard onstage) arguing on the phone. One call between Hope and her partner reveals that she has come to Faith’s home without telling her partner, knowing he wouldn’t let her leave. She tries to reassure him she is simply with her nan and mum. 

• Jet sneaks around the room where Faith and Hope are sleeping, looking for money. He wakes them and causes visible distress in Hope. Her reaction suggests past trauma related to violence. 

References to sexual harassment 

• Faith describes how her former carer Jamie is tapping on her windows and harassing her. Karma explains that Faith is confused and that she had been entering his room naked, harassing him. 

• At one point, the women fear someone is watching them in the bush – possibly Jamie or Jet. It turns out to be kangaroos. 

References to and depiction of alcohol use 

• Karma, Hope, and Faith share a beer, after discussing whether Faith should drink. 

• Hope offers Jet a beer, which he accepts. 

Sensitive commentary regarding drug use and addiction 

• Hope recites the Alcoholics Anonymous / Narcotics Anonymous prayer. 

• Hope refers to her time in a residential home implying either that she has been in residential rehab or residential care. 

• Hope calls Jamie (a previous carer of Faith’s) a “junkie”. 

• Jet reveals he is three days sober and is visibly experiencing withdrawal symptoms. 

• Karma offers Jet edibles. 

• Jet sneaks around while Hope and Faith are asleep, searching for money, and causes distress in Hope. Karma gives him the money after an argument. 

Nudity 

Note: the depictions of nudity listed in this content guide have been extracted from the script. The extent to which nudity will actually be depicted onstage will be determined across the rehearsal process. 

• Faith is naked and distressed, ripping up her documents and photos. 

References to elder abuse 

• Faith attempts to call her son, claiming that Karma is locking her up and has sold all her belongings. She does not recall asking Karma for help. 

• Faith repeatedly asks about her money. Karma explains it was used for her nursing home. Faith wants money for Jet, but Karma reveals Jet had already taken large sums from her. 

References to excrement 

• Karma reveals that neighbours once found Faith stuck on the floor, covered in excrement. 

• Several references to farting. 

• The eco toilet is full of faeces and has not been cleaned. 
  
  
• Faith sets the eco toilet on fire, causing an explosion. Later, the three women take the remaining faeces to the cemetery for burial. 

Physical production elements 

Loud sound effects 

• Faith sets fire to the eco toilet, causing an explosion. This moment utilises a loud explosive sound effect. 

Updated 17 October 2025

A Room with a View

Contains mature themes. 

Recommended for ages 15+ / Years 10–12

Mature themes 

Reference to and depiction of nudity 

Note: the depictions of nudity listed in this content guide have been extracted from the script. The extent to which nudity will actually be depicted onstage will be determined across the rehearsal process. 

• Lucy refers to a nude fresco. 
  
  
• Freddy, George and BeeBee remove their clothes and go skinny dipping. Cecil, Mrs Honeychurch (Lucy’s mum) and Lucy enter, and the men scramble to cover their naked bodies. 

References to and depiction of poverty 

• Charlotte references how dreadful her poverty is. 

• Miss Lavish refers to homeless men begging as “vagrants” and “inferior”. 

Sensitive political commentary 

• Mr Emerson calls Niccolo Machiavelli a saint in jest. 

Sensitive commentary on women and womanhood 

• The play is set in a time when women’s roles were highly restricted; for example, Lucy is required to have a chaperone as an unmarried woman. These societal expectations frustrate her. 

• It is implied that Lucy and Mr Emerson had sex, and Charlotte tells Lucy to protect her reputation and virtue to say that Mr Emerson forced himself upon her. 

• Cecil expresses disapproval of education for women. 

Commentary on and depictions of violence, murder and death 

• A man is stabbed at a fountain. Lucy and George, who witness the aftermath, discuss death. Lucy reflects on her father’s death, and George talks about witnessing his mother’s passing. 

• George throws aways Lucy’s postcards as they are now covered in blood. 

• Miss Lavish tells Charlotte and Lucy that Mr Emerson is in Italy fleeing a murder charge, having allegedly killed his wife "in the eyes of God." 

Commentary on class 

• Cecil comments on Lucy’s working-class background, implying that her marriage to him will elevate her social status. 

Updated 17 October 2025