Season 2027

Stereophonic

Contains frequent coarse language and mature themes, including depictions of drug use. 

Recommended for ages 15+ / Years 10-12 

Coarse language

• There is frequent coarse language throughout the play including repeated use of "fuck", "fucking", “fuckface”, “mutherfucker”, "shit", "asshole", "slut", “bitch”, and "Jesus Christ". 

Mature themes

References to and depictions of alcohol and drug use 

• Alcohol is consumed throughout the play, including beer, champagne, Jack Daniel's, scotch and Courvoisier.
• Peter is confronted by other characters about his drinking. Comparisons are made between Peter's drinking and his father's alcoholism, and characters discuss excessive drinking, intoxication and dependency.
• Characters frequently refer to cocaine using terms including "coke" and "blow". Cocaine is prepared and snorted on stage by several characters.
• Cannabis is referred to as "pot" and "weed". Characters roll and smoke joints on stage and discuss being "stoned" and getting "baked". 

References to suicide, mental illness and emotional distress 

• Characters discuss suicidal thoughts. 
• Characters discuss someone having "cracked up" and being admitted to a mental hospital. 
• Peter experiences prolonged emotional distress throughout the play, including crying, anger, feelings of worthlessness and an emotional breakdown. 

Depictions of relationship conflict and emotionally abusive behaviour 

• Peter and Diana's relationship is characterised by repeated arguments, jealousy and emotional conflict. 
• Peter repeatedly pressures Diana to reaffirm their relationship despite her attempts to distance herself. 
• Peter and Diana argue about having children and whether they should start a family. 
• Characters discuss relationship breakdown, separation and absent family members. 
• Simon discusses the breakdown of his marriage and fears losing his children. 

Sexual references and sexist commentary 

• Characters discuss sexual attraction, erections ("boners"), visible nipples, nudity and whether characters are "shagging" or "boning". 
• Women are objectified, including references to a woman as "a real tart" and comments that another character is "so sexy". 
• References are made to sex workers ("tart"). 

Depictions of and references to violence 

• Peter repeatedly shoves Grover during an argument and punches a wall. Characters later describe Peter as having nearly killed Grover. 
• Threats include "Do you want me to break your neck?" and "I should burn your hair off". 
• References are made to murder, killing and death. 

Discriminatory language and sensitive commentary 

• Use of the homophobic slur "faggot". 
• References to disability, including the terms "the dwarf" and "hooded dwarf". 

References to animal harm 

• Simon recounts a story about a chicken being killed by being hit with a brick. 

Smoking 

• Frequent cigarette smoking throughout the play. 
• Frequent cannabis smoking throughout the play. 

Physical Production Elements 

Note: Physical production elements (including haze, loud sound effects, lighting effects etc.) to be added following technical rehearsals. 

Updated 1 September 2026

Richard III

Contains mature themes. 

Recommended for ages 14+ / Years 9-12 

Note: This content guide has been prepared from William Shakespeare's original text and will be reviewed following the completion of the adaptation and rehearsal process. 

Mature themes

Depictions of and references to murder, execution and political violence

• The play centres on Richard's pursuit of the English throne through deception, manipulation and murder. Multiple murders are depicted or described throughout the play, including the murder of King Henry VI, the assassination of Clarence, the murder of Lord Hastings and the murder of the two young Princes in the Tower. 
• Several executions are ordered or carried out, including public beheadings. 
• Characters repeatedly discuss murder, assassination, revenge and political violence. 

Depictions of and references to war

• The play opens in the aftermath of war and concludes with the Battle of Bosworth. 
• Characters frequently discuss war, armed conflict, military campaigns, treason and political unrest. 
• Battles are depicted and characters are wounded and killed. 

References to infanticide

• The murder of the young Princes in the Tower is a central event in the play. 
• Characters discuss the deaths of children and the political murder of heirs. 

References to grief, bereavement and loss

• Several characters grieve the deaths of husbands, children, fathers and brothers. They experience profound personal loss following murder and political violence. 
• Funeral processions and mourning occur throughout the play. 

Depictions of manipulation, coercive behaviour and emotional abuse

• Richard repeatedly deceives, manipulates and threatens those around him to gain power. He emotionally manipulates Lady Anne into marrying him shortly after the murder of her husband and father-in-law. 

References to suicide

• Characters express despair and discuss death as preferable to their circumstances. 

References to death and corpses

• Corpses are present during several scenes, including the funeral procession of King Henry VI. 
• Characters interact with and speak over the bodies of the dead. 
• Deaths are described in detail throughout the play. 

Supernatural themes

• The ghosts of Richard's victims appear before the Battle of Bosworth. 
• Characters experience prophetic dreams, curses and supernatural visitations. 
• Religious language and references to divine judgement occur throughout the play. 

Depictions of physical violence

• Characters fight using swords and other weapons. 
• Murders, executions and acts of physical violence occur throughout the play. 
• Threats of violence are frequent. 

References to disability and ableist language

• Richard repeatedly refers to himself, and is described by others, using derogatory language relating to his physical disability and appearance. 
• Characters describe Richard using terms including "deformed", "crooked", "misshapen", "lump", "toad", "hedgehog", "bottled spider" and "foul bunch-backed toad". 
• Richard attributes his mistreatment by others to his physical appearance. 

Misogyny and sensitive commentary on women

• Women are blamed for political events and are subjected to insults and degrading language. 
• Richard manipulates and deceives women for political gain. 
• Female characters discuss the limited power afforded to women within the royal court. 

References to pregnancy, childbirth and motherhood

• Pregnancy, childbirth and motherhood are discussed throughout the play in relation to succession and the royal bloodline. 
• Mothers grieve the deaths of their children. 

References to religion

• Characters invoke God, heaven, hell, sin, damnation and divine justice throughout the play. 
• Religious oaths, blessings and curses occur frequently. 

Physical Production Elements 

Note: Physical production elements (including haze, loud sound effects, lighting effects etc.) to be added following technical rehearsals. 

Updated 1 September 2026

A Delicate Balance

Contains mature themes. 

Recommended for ages 15+ / Years 10-12 

Mature themes

References to and depictions of alcohol misuse and addiction

• Alcohol is consumed throughout the play, including cognac, vodka, gin, anisette and brandy. 
• Claire is frequently depicted drinking and is repeatedly confronted by Agnes and Tobias about her alcohol use. Agnes describes Claire arriving home smelling of vodka and visibly intoxicated. 
• Claire openly discusses alcoholism and Alcoholics Anonymous, introducing herself as "an alcoholic" before later insisting she is "just a drunk". She reflects on addiction, recovery and her experiences attending AA meetings. 
• Characters discuss the long-term impact of Claire's drinking on herself and those around her.  
• References are made to intoxication, dependency, vomiting, falls and the deterioration of family relationships. 

References to mental illness, psychological distress and fear

• Agnes repeatedly expresses her fear that she may one day "lose my mind", reflecting on madness, paranoia and mental illness. 
• Harry and Edna unexpectedly arrive at Agnes and Tobias' home after becoming overwhelmed by an unexplained sense of fear. They describe experiencing profound terror despite there being "nothing" to fear, and struggle to explain their emotional state. 
• The play explores anxiety, existential fear, emotional isolation and psychological distress through extended conversations between family members. 
• Several scenes involve heightened emotional distress, including prolonged arguments, crying, yelling and emotional breakdowns. 

References to suicide, death wishes and self-harm

• During an argument Agnes tells Claire, "If you want to kill yourself – then do it right!" 
• Characters make repeated hypothetical references to shooting one another, murder and wishing for death during moments of heightened conflict. These references are discussed rather than enacted. 

References to grief, bereavement and death

• The death of Teddy is discussed throughout the play. Characters reflect on the lasting impact of his death on the family, particularly Julia. 
• The play explores grief, unresolved loss and the ways families continue to live with bereavement many years after a death. 

Depictions of family conflict, emotional abuse and relationship breakdown

• The play centres on longstanding family tensions, resentment and emotional conflict. Agnes and Claire exchange sustained personal insults throughout the play. 
• Julia repeatedly returns to her parents' home following the breakdown of her marriages, prompting discussions about divorce, dependency and family obligation. 
• Family members manipulate, criticise and emotionally wound one another through prolonged verbal confrontations. 

References to infidelity and sexual relationships

• Claire reveals that Tobias and his close friend Harry were involved with the same woman during their younger years. 
• Characters discuss marriage, infidelity, divorce and intimate relationships throughout the play. 

References to and depictions of violence

• Characters make repeated verbal references to guns, murder and shooting. 
• Julia produces a gun during an emotionally charged confrontation. 
• References are made to war, including a remark about people being "blown to pieces by a Chinese bomb." 
• Violence is discussed more frequently than it is depicted. 

References to animal harm and euthanasia

• Tobias recounts striking his elderly cat before later having the animal euthanised. He repeatedly reflects on the decision to have the cat killed and the guilt he continues to feel. The scene includes discussion of ageing, death, euthanasia and compassion towards companion animals. 

Homophobic language

• The play contains use of the homophobic slur "fag".

Smoking

• Characters smoke cigarettes throughout the play as part of social interactions within the family home. 

Physical Production Elements

Note: Physical production elements (including haze, loud sound effects, lighting effects etc.) to be added following technical rehearsals. 

Updated 1 September 2026

The War of the Worlds 

Contains infrequent coarse language and mature themes. 

Recommended for ages 13+ / Years 8-12 

Note: H.G. Wells’ The War of the Worlds is a new work being developed through our NEXT STAGE Writers’ Program. Development on the script will continue until opening night. The following content guide will be updated accordingly. 

Coarse language

• Infrequent coarse language. 
• Infrequent to moderate use of coarse language including repeated uses of “fuck”, “fucking”, “shit”, “arseholes” and similar terms. 
• Language is generally used in moments of stress, fear or conflict. 

Mature themes

Death, grief and loss 

• Frequent references to mass death caused by an alien invasion, including civilian casualties and large-scale destruction. 
• Central character believes her former partner Liv has died and experiences ongoing grief and mourning. 
• Themes of loss of family, home, community, culture and Country are explored throughout. 
• The narrator discovers the remains of her grandmother (Nan) and buries her, leading to profound grief and despair. 

Violence

• Sustained depictions of alien attacks causing explosions, fires, destruction of buildings and deaths. 
• References to military responses, firearms, tanks, missiles and armed soldiers. 
• Graphic descriptions of people being burned, crushed, dismembered, vaporised or otherwise killed. 
• Threatening behaviour includes a soldier pointing a gun at a woman and children. 

Natural disasters

• Frequent disaster imagery including bushfires, smoke, ash fall, storms, blackouts and mass evacuations.
• Although caused by alien activity, many scenes resemble large-scale natural disaster emergencies.

Implied racist perspectives

• Contains commentary on colonisation, Aboriginal and Torres Strait Islander experiences, and structural racism. 
• Includes critical references to racist stereotypes and exclusionary beliefs expressed by some characters. 

Physical Production Elements

Note: Physical production elements (including haze, loud sound effects, lighting effects etc.) to be added following technical rehearsals. 

Updated 9 October 2026

Rebels

Contains frequent coarse language and mature themes, including racism. 

Recommended for ages 15+ / Years 10-12 

Note: Rebels 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 strong coarse language throughout including “fuck”, “fucking”, “shit”, “cunt”, “bastard”, “arse”, “prick” and “piss”. The language is often used during heated political and personal arguments between the characters. 

Mature themes

Racism, apartheid and racial discrimination

• The play centres on discussions surrounding apartheid in South Africa and the proposed Australian rebel cricket tour to South Africa during the apartheid era. 
• There is sustained discussion of systemic racism and racial discrimination, including the exclusion of Black and non-white South African players from professional cricket. 
• Bob states that South African sport became political “when they didn’t let Black people play”. 
• Clive challenges the other characters about the treatment of Black South Africans and questions whether international sporting boycotts and sanctions can help bring about political change. 
• Kerry is accused of failing to adequately respond to racism within South African sport. During the argument, Clive observes that “being called a racist is worse than being racist.” Kerry responds that he “could be a lot more racist” if he chose to be. 
• The play explores differing attitudes towards racism, political responsibility and the role individuals and institutions can play in challenging injustice. 

References to slavery, colonisation and historical racial injustice

• Clive discusses the history of racial discrimination in South Africa, including the story of cricketer Krom Hendricks. Hendricks is described as the descendant of Muslim slaves on the Cape and was denied a place on the South African national cricket team because of his race. 
• Clive discusses generations of Black South Africans being denied opportunities and describes apartheid as a deliberately created system designed to maintain racial inequality. 
• The play also contains discussion of colonialism and the responsibility of Commonwealth nations to confront the injustices of their past. 

Politically sensitive themes

• The play contains sustained political debate around apartheid, international sanctions, sporting boycotts and Australia's relationship with South Africa. 
• Characters disagree about the effectiveness of protest, sanctions and political action. 
• There are references to protest movements, civil disobedience, arrests and political activism. 
• The play also includes references to the Nazi New Guard and historical political extremism. 

References to violence, threats and civil unrest

• Characters discuss the violent clashes surrounding protests against the 1971 South African rugby tour of Australia. 
• Bob describes thousands of protestors, sit-ins and violent clashes at team hotels. He also describes receiving death threats, having black paint poured over his car and his children being subjected to abuse. 
• Kerry describes being confronted by a man while having his hair cut. He says the man held his arms down and grabbed a cutthroat razor while yelling abuse at him. 
• Kerry enters the play with a bleeding cut to his neck following this incident. 
• There are further references to physical fights, including Clive being hit in the head while attempting to break up a schoolyard fight. 

References to death and war

• The play contains references to death, including historical figures and the deaths of generations of people affected by apartheid and racial discrimination. 
• Characters discuss the consequences of political conflict and refer to war as “horrendous”. 
• Clive describes apartheid as a “demeaning, torturous and life-ending machine” and speaks passionately about the violence and injustice experienced by Black South Africans. 

Alcohol references

• There are references to alcohol throughout the play, including beer, ale and drinking. 
• Kerry refers to a family member expressing his opinions while “on the drink”. 
• There are also references to Kerry's gambling and drinking in the context of his public reputation. 

Drug references

• Kerry reads an allegation that he was involved in an “international drug ring”. This allegation forms part of a discussion about his reputation and media coverage. 

Smoking

• Kerry is depicted smoking a cigarette during the play. He lights and smokes a cigarette indoors and exhales a large plume of smoke. 

Sexual references and humour

• There are occasional sexual references and innuendo. 
• Bob tells a story in which Joel Garner makes a joke about the size of his penis, inferring it is large. 
• Kerry makes a joke about Bob getting "a stiffy". 
• Kerry jokes that he prefers “a bit sweeter talk and kissing before the pants are dropped”. 
• Kerry also jokingly asks Bob whether his invitation to meet Clive is “a gay thing”. 

References to illness and disability

• Kerry references having had polio. 
• Bob is described as dyslexic during an argument between the characters. 

Depiction of vomiting

• Clive vomits during the play. He is described as vomiting at the beginning of the play following nerves before a cricket match and later vomits again during a conversation. 

Physical Production Elements

Note: Physical production elements (including haze, loud sound effects, lighting effects etc.) to be added following technical rehearsals. 

Updated 1 September 2026 

John Proctor is the Villain 

Contains frequent coarse language and mature themes including references to and discussion of sexual assault. 

Recommended for ages 14+ / Years 9-12 

Coarse language

• There is frequent use of strong coarse language throughout the play, including “fuck”, “fucking”, “fucked”, “shit”, “shitty”, “bitch” and “whore”. 
• The word “whore” is used repeatedly in discussion of Abigail Williams and the way female sexuality is judged in The Crucible. 

Mature themes

References to and discussion of sexual assault and rape

• Sexual assault and rape are significant themes throughout the play. 
• Shelby reveals that she was sexually assaulted by her teacher, Mr Smith. She describes the lasting impact of the assault and confronts him about what happened, including telling him that while he may have forgotten what occurred, her body remembers being touched by him. 
• The play includes discussion of other students who have experienced sexual assault. Shelby states that “pretty much all these girls have been assaulted at some point”, including sexually. 
• Ivy discusses allegations that her father sexually assaulted another girl. She initially attempts to minimise what happened, saying that he “didn’t like rape her”, before acknowledging that he had touched the girl. 
• Characters discuss the ways sexual assault can be minimised, dismissed or misunderstood, including discussion of what constitutes consent and the language used to describe different forms of sexual violence. 
• There are references to other potential victims of Mr Smith. 

Depiction of a non-consensual kiss

• Lee forcibly kisses Raelynn during an argument despite her lack of consent. The physical interaction continues after the initial kiss and is followed by emotional distress and conflict between the characters. Later, the characters refer to this interaction using the term “kiss raped” while discussing what occurred. 

Sexual harassment and abuse of power

• The play includes discussion of an allegation that a teacher has sexually assaulted a student. 
• The relationship between Mr Smith and his students raises issues of power, authority, trust and the abuse of a position of responsibility. 
• Characters discuss whether adults and institutions have adequately responded to allegations of sexual misconduct. 

Misogyny, sexism and sensitive commentary around women and girls

• The students discuss the ways women can be judged, sexualised, disbelieved or blamed for men's behaviour. 
• There is sustained discussion of the character of Abigail Williams and the tendency to characterise her as a “whore”, with the students reconsidering how she and other female characters are represented. 
• The students discuss expectations around female friendship, sexuality and behaviour, including the pressure placed on girls to be accommodating and likeable. 
• Characters discuss feminism and differing attitudes towards feminist politics and activism. There are disagreements about what it means to identify as a feminist and how feminism should be practised. 

References to sexual activity and sexualised language

• The play contains occasional sexual references, sexualised humour and discussion of sexual relationships. 
• Characters refer to “sweatpant dick”, a “dreamy British dick”, kissing and sexual activity. 
• There are references to Raelynn having done “way more than kiss” with Lee's best friend. 
• Characters also make sexualised comments about other people, including references to physical attraction and male genitalia. These comments are generally presented within the humour and conversations between the teenagers. 

References to suicide, including a character discussing suicidal thoughts

• Mr Smith describes reaching a point where he thought, “this is it. I’m just going to kill myself. They’d all be better off without me”. The reference occurs during an emotionally significant conversation and is not accompanied by a depiction of self-harm or suicide. 

Emotionally intense scenes and depictions of distress

• Raelynn is visibly distressed following conflict with Lee. 
• Ivy breaks down and dissolves into sobs. 
• Later in the play, characters scream together during an emotionally heightened sequence. 
• There is also a moment of prolonged, uncomfortable laughter between characters during an intense conversation. 

Physical conflict

• Raelynn slaps Lee during an argument. 
• Lee grabs Raelynn's hand and pulls her back during the confrontation. 
• A desk is pushed over violently during another moment of conflict. 

References to cheating and betrayal

• Raelynn and Lee's friendship is affected by a betrayal involving Raelynn having “done way more than kiss” with Lee's best friend. The play explores the fallout of this betrayal and its effect on the characters' friendships. 

References to murder and death

• There are occasional references to murder and death. 
• Characters jokingly discuss wanting Taylor Swift to murder John Mayer. 
• The students also discuss the death of John Proctor in The Crucible. 

References to The Crucible, witch trials and historical persecution

• The play is structured around a classroom study of Arthur Miller's The Crucible. Characters discuss the Salem witch trials, accusations of witchcraft, public condemnation and the persecution of women. 
• There are references to John Proctor's relationship with Abigail Williams and discussion of how this relationship, and the power dynamics surrounding it, are interpreted. 
• The students debate whether The Crucible and its characters should be understood differently through a contemporary feminist perspective. 

References to blood and graphic imagery

• While discussing and performing scenes from The Crucible, a character refers to Abigail Williams having drunk blood during the girls' activities in the woods. 
• Later, a character uses the imagery of being showered with “blood and brittle bones” during an emotionally heightened speech. 
• There is no depiction of blood or bleeding in the play. 

References to nudity

• While discussing The Crucible, Mr Smith asks why the girls “went and danced naked in the woods”. There is no actual nudity or partial nudity depicted in the play. 

Smoking

• A character briefly mimes smoking a cigarette while performing a scene from The Crucible. No real cigarette is smoked. 

Physical Production Elements

Note: Physical production elements (including haze, loud sound effects, lighting effects etc.) to be added following technical rehearsals. 

Updated 1 September 2026

The Authenticator

Contains occasional coarse language, mature themes including racism and racial discrimination, references to sexual violence and gunshot sound effects. 

Recommended for ages 14+ / Years 9-12

Coarse language

• There is occasional strong coarse language including “fuck”, “fucking”, “shit”, “cunt” and “dickhead”. The word “cunt” is used twice during a song performed by Fen.  

Mature themes

Racism, racial discrimination and sensitive commentary on race

• The characters engage in sustained discussion about race, privilege, colonialism and the ways in which Black history has been erased or excluded from official historical records. 
• Marva challenges Abi about whether she sees her as an equal, telling her that her ancestors “were sold into slavery” while Abi's were not.  
• The play also discusses racism within academic institutions and refers to a Black student being marked unfairly.  

Racist and historically offensive terminology

• An eighteenth-century diary refers to Black Sarah as “the mulatto woman”.  
• The term “blackamoor” is used repeatedly in reference to a statue modelled on an enslaved person. The statue is initially displayed as a decorative servant figure, and characters discuss the racist history and implications of the object.  

References to slavery, colonialism and racial violence

• The characters examine eighteenth-century journals written by Henry Harford, who owned an estate in Jamaica and enslaved people. The journals include inventories in which people are listed alongside livestock.  
• There is sustained discussion of the transatlantic slave trade, colonialism, the treatment of enslaved people and the way wealth accumulated through slavery continues to affect subsequent generations. 
• Characters discuss the erasure of Black history, and the difficulty descendants of enslaved people can face in tracing their family histories.  

References to physical abuse, torture and whipping

• The characters discover evidence that Black Sarah, an enslaved woman, was repeatedly punished by Henry Harford.
• The journal records Black Sarah being sent to the “Summerhouse”, where she is understood to have been punished. Marva explains that marks in the diary represent lashes, counting “five lashes”, “ten lashes” and more. Later, Marva explicitly states that Black Sarah was tortured.

References to sexual violence and rape

• Marva describes Henry Harford sending Black Sarah to the Summerhouse and states that “he tortured and raped her”.  
• Sexual violence is discussed rather than depicted. 

References to the forced separation of a mother and child

• The characters discover evidence suggesting that Black Sarah gave birth to twins and that one of her children was taken from her and given to Henry Harford's wife. The discovery is described through the recovered text: “took one twin… your son and mine”.  
• The characters discuss the possibility that Henry Harford's family line was founded through the forced removal of Black Sarah's child.  

Alcohol use and intoxication

• Alcohol is consumed throughout several scenes. 
• Fen and Abi are depicted drinking heavily and becoming intoxicated. Empty bottles are strewn around them while Fen performs a drunken song.  
• Fen continues drinking from bottles, and later repeatedly refills Marva's glass with wine.  
• Marva later becomes intoxicated alongside Fen.  

Drug references

• There are references to cocaine and injection drug use. There is no depiction of drug use. 
• Fen jokes about drug traffickers hiding cocaine inside objects. Later, Marva refers to her parents' drug use and describes “dirty needles in their arms”.  

References to death, murder and bereavement

• Fen discusses the death of her brother, including the suggestion that his death may have been murder. She later explains that he was killed when a pile of bricks collapsed on him.  
• Marva's grandfather disappeared and is presumed dead, while she also refers to the deaths of both her parents.  
• The historical diary also records the apparent death of a baby, which becomes central to the mystery explored by the characters.  

Depiction of a panic attack

• Marva experiences a panic attack while trapped in a hedge maze. She gasps for breath and repeatedly asks to be let out. Abi guides her through breathing and helps her find her way out of the maze. Marva remains visibly affected after the episode before her breathing eventually returns to normal.

Emotionally intense scenes and distress

• Characters become upset and distressed while reading about the abuse of Black Sarah. Fen becomes unable to continue handling the diary and paces the room in distress.  
• Later, the characters engage in emotionally charged arguments about race, privilege, identity and the authenticity of Black Sarah's story. 

Depiction of fear and theatrical horror

• Several scenes use the conventions of a haunted house. 
• The characters encounter darkness, ghostly sobs, cries for help, wailing, banging, creaking and other unexplained sounds. 
• A character is frightened when she unexpectedly sees the blackamoor statue in a doorway.  
• These moments are theatrical rather than depictions of actual supernatural violence. 

References to and depiction of physical violence

• There are references to historical violence, including the whipping, torture and rape of Black Sarah. 
• In the present-day action, Fen and Marva use a hammer to repeatedly strike and damage a portrait of Henry Harford.  
• A sword is briefly brandished during a tour of the house, although it is not used to harm anyone.  

Confinement and imprisonment

• Abi and Marva are locked inside the dungeon by Fen. They bang on the door and repeatedly shout for help before being left trapped inside. The characters later discuss the possibility of remaining trapped and dying there, although this is not realised.  

Sexual references

• During a playful reenactment of a fictional period drama, Marva says she is going to put flower petals over Abi and “ravish” her.  
• There are also references to a fictional character seducing another character. 

Physical Production Elements

Loud sound effects

• The production includes sudden and unsettling theatrical sounds including screaming, ghostly sobs, cries for help, banging, rattling, creaking and tearing sounds. These are moments designed to evoke the atmosphere of a haunted house. 
• Rapid gunshot sound effects are heard early in the play. The characters react by dropping to the ground before discovering that the sounds are coming from a music video being filmed nearby. 

Note: Physical production elements (including haze, additional sound effects, lighting effects etc.) to be added following technical rehearsals. 

Updated 1 September 2026

Phar Lap: The Electro-Swing Musical

Contains mature themes, strobe, flashing lights, theatrical haze, gunshot sound effects, and many horse puns.  

Recommended for ages 15+ / Years 10-12 

Mature themes

References to gambling and crime

• The play includes references to gambling, betting, bookmaking, corruption and criminal activity within the world of horse racing.

Threats of violence

• The story includes threats of violence and an attempted shooting. Gunshot sound effects are used. 

References to animal exploitation and death

• The musical satirises aspects of the horse-racing industry, including the treatment and exploitation of racehorses. 
• There are references to horses being sent to a “glue factory”. 
• The story includes the death of Phar Lap, presented within the production's heightened and comedic theatrical style. 

Adult humour

• The production contains adult humour and innuendo. 

Physical production elements

Lighting effects

• The production contains strobe and flashing light effects. 

Theatrical haze

• Theatrical haze is used during the performance.

Gunshot sound effects

• Gunshot sound effects are used during the performance. 

Updated 1 September 2026 

Every Second Wednesday 

Contains mature themes including discussion of mental health, addiction and substance abuse, domestic violence, self-harm and suicide, and frequent coarse language. 

Recommended for ages 16+ / Years 11-12 

Note: Every Second Wednesday 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 throughout the play, including “fuck”, “fucking”, “shit”, “bitch”, “dickhead”, “arse” and “piss”. The language is used within casual conversation as well as during emotionally heightened discussions and arguments. 

Mature themes

Addiction, alcohol misuse and recovery

• The characters attend a support group where they regularly discuss addiction, substance abuse, rehabilitation, relapse and recovery. 
• Several characters describe their own experiences with alcohol misuse or their experiences supporting family members with addiction. 
• Jude describes his mother's longstanding alcohol addiction and the effect it has had on him throughout his life. He recounts periods of sobriety and relapse and describes his mother's drinking escalating to the point where she was found unconscious.  
• Mathew discusses his daughter Caitlin's addiction and describes attempts to support her through rehabilitation and periods of crisis. He refers to her use of alcohol and vodka and later describes her drinking as becoming increasingly severe.  
• Other characters discuss alcoholism, problematic drinking and the difficulty of maintaining sobriety. In the epilogue, characters refer to periods of relapse as well as ongoing recovery and attendance at Alcoholics Anonymous.  

Drug use and references to medication

• Mathew describes his daughter taking pills during a mental health crisis and discusses medication, rehabilitation and treatment. 
• There are also references to antidepressants and other medication used in the context of mental health treatment. 

Mental health and psychological distress

• Characters discuss anxiety, depression, emotional distress, isolation and the impact of caring for family members experiencing mental health crises. 
• Mathew describes his daughter's deteriorating mental health, including periods of withdrawal, significant changes in her behaviour and repeated crises. 
• The characters discuss the emotional impact of addiction and illness on family members and carers, including guilt, fear, anger, exhaustion and feelings of helplessness. 
• In the epilogue, Maddie explains that Jo Jo has been diagnosed with schizophrenia and that having a diagnosis has helped make sense of some of her experiences.  

References to self-harm

• Mathew describes his daughter Caitlin's mental health struggles and refers to self-harm and scars on her arms. 
• The play discusses the difficulty of recognising when a person is in crisis and the fear experienced by family members trying to keep someone safe. 

References to suicide, including attempted suicide

• Early in the play, the group discusses responding to a person in crisis and whether someone may be at risk of suicide. Mathew describes a situation in which emergency services were contacted after a concern that a person may have died or taken their own life.  
• Later, Mathew describes his daughter Caitlin experiencing a significant mental health crisis. The characters discuss her taking pills and Mathew states that she was “trying to kill herself”.  
• These events are described rather than enacted. 

Domestic violence and family violence

• Kat arrives at the support group with a blackened eye. She tells Sue that her partner Dylan has “crossed a line” and later reveals that she has obtained a restraining order. 
• Kat explains that Dylan had previously punched through a wall and says that although he had not previously hit her, she fears that allowing his behaviour to continue could lead to further violence.  
• The characters support Kat in recognising the seriousness of the situation and encourage her to leave the relationship and seek help. 

Verbal, psychological and emotional abuse

• Characters describe anger, intimidation, manipulation and the ways addiction, mental illness and family conflict can affect relationships. 
• There are emotionally intense arguments between characters, including moments in which they challenge each other's behaviour, parenting and decisions. 

Serious illness and medical crises

• Jude reveals his mother has pancreatic cancer and discusses the progression of her illness.  
• Mathew describes his daughter being found unconscious and taken to hospital during a medical and mental health crisis. He recounts interactions with emergency services, doctors and hospital staff. 
• There are also references to rehabilitation, mental health services, welfare checks and emergency medical treatment. 

Death and grief

• The play contains discussion of grief alongside anger, guilt, regret and relief. 
• Jude's mother becomes increasingly unwell with pancreatic cancer and later dies. Jude describes the experience of losing his mother and reflects on their complicated relationship, including the impact of his mother's alcoholism.  
• The characters discuss bereavement, funerals and the experience of losing family members. 

Dysfunctional family relationships and intergenerational trauma

• Several characters discuss difficult relationships between parents and children, including estrangement, addiction, illness and the long-term impact of family trauma. 
• Characters discuss feeling that they have failed as parents or children, and struggle with guilt over decisions they have made or things they feel they could have done differently. 
• There is discussion of the ways trauma, addiction and mental illness can affect multiple generations of a family. 

Physical violence and threats of violence

• Kat describes Dylan punching through a wall during an argument and the escalation of his behaviour before she obtains a restraining order.
• Other characters recount incidents involving violence, aggression and family conflict.
• The violence is discussed rather than depicted.

References to sexual activity

• Characters make brief references to sex and sexual relationships, including a reference to having sex in the context of a conversation about relationships and emotional connection.

References to pregnancy and parenthood

• Kat's pregnancy is discussed, including her decision to continue with the pregnancy while separating from Dylan and planning for her future independently.  
• The play contains extensive discussion of parenting, including the challenges of caring for children experiencing addiction and mental health difficulties.

Physical Production Elements

Note: Physical production elements (including haze, loud sound effects, lighting effects etc.) to be added following technical rehearsals. 

Updated 1 September 2026

Clarice 

Contains mature themes and occasional coarse language. 

Recommended for ages 15+ / Years 10-12 

Note: Clarice 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 occasional coarse language including “bloody”, “hell”, “bugger off”, “damned”, “arse”, “bastard” and “Sod’s sake”. 

Mature themes

Sexism and misogyny

• Clarice faces barriers as a woman pursuing a career as an artist in the early twentieth century. 
• Clarice's mentor, Max Meldrum, tells her that “of course you are a woman” before stating that she nevertheless “paint[s] like a man”. He argues that great artists require “all the manly qualities, courage, strength and endurance” and tells Clarice that women “simply lack the capacity to be alone”. Meldrum goes on to state: “There has never been a great woman artist and there never will be.” 
• Later, after selecting Clarice's work for an exhibition in Paris, Meldrum describes being a woman as Clarice's “burden to carry”. 
• Clarice's work is also repeatedly dismissed or overlooked in favour of more traditional and domestic subject matter considered suitable for women artists. 

Ableist language and sensitive commentary around disability

• Clarice's brother Thomas is described as having microcephaly and as being developmentally similar to a young child. 
• Clarice recalls that Thomas was historically referred to as an “imbecile” and an “idiot”. She describes how, as a teenager, Thomas was taken away from his family and later died at Willsmere Asylum after contracting pneumonia. 
• Clarice discusses her memories of Thomas and the grief following his institutionalisation and death. 

Racist language

• During a violent confrontation with police, Arthur is referred to using the racist slur “dago”. The term is used by a police officer while Arthur is being physically restrained and arrested. 

Depictions of physical violence

• Arthur intervenes in an argument between Clarice and council workers. The men wrestle and fall to the ground. 
• Police officers confront Arthur at his van. One officer forcibly removes the towel from around Arthur's waist and slams him naked against the side of the vehicle. Arthur resists and fights with the officers before a police baton is brought down on the back of his head. He is knocked unconscious and dragged into a police vehicle. 
• Clarice's father, Joseph, and Clarice physically struggle when he burns her paintings. Clarice pushes Joseph away and he falls to the ground. 

Blood and injury

• Joseph falls and sustains a head injury. Clarice finds him lying on the floor with blood seeping from a “nasty gash” on his head. A broken whisky bottle lies beside him. The injury is depicted in the aftermath rather than as an act of violence. 

Alcohol use and alcohol misuse

• Joseph is repeatedly depicted drinking alcohol, including whisky, and is frequently intoxicated. 
• Clarice expresses concern about Joseph drinking while taking medication. 
• Joseph's alcohol use contributes to several moments of physical instability and distress. He is depicted falling, passing out and behaving erratically while intoxicated. 
• In the final stages of the play, Joseph is heavily intoxicated while burning Clarice's paintings. 
• Other characters are depicted drinking beer and wine socially. 

Sexual references and sexual activity

• Clarice and Arthur develop a romantic and sexual relationship. Their first sexual encounter is depicted with Arthur asking Clarice for consent before touching and undressing her. He asks “Is this... alright?” and later “Tell me what you want.” Arthur kisses Clarice's breasts and touches her between her legs before the two have sex. Clarice and Arthur are later depicted making love and lying together after sex. 
• There is also discussion of their sexual relationship, with Clarice telling Hilda: “Oh no Hilda, that’s just sex.” 

Nudity

• Clarice and Arthur are depicted naked together following sex. 
• Arthur removes all of his clothes, including his underwear, before swimming at a deserted beach. Clarice subsequently removes her clothes and joins him. The two run naked into the water and later chase sheep away while naked. 
• Clarice and Hilda also run naked into the sea together. 
• Arthur is partially naked when police arrive at his van and is forcibly stripped of the towel around his waist during his arrest. 

References to pregnancy and parenthood

• Clarice raises the question of Arthur potentially wanting children and asks him whether he has imagined himself as a father. The conversation contributes to Clarice's fears about their relationship and the age difference between them. 

Serious illness and medical treatment

• Clarice becomes increasingly unwell towards the end of the play. She is depicted coughing heavily and struggling to breathe while continuing to paint outdoors in difficult weather conditions.  
• Clarice later collapses unconscious. She is taken to hospital, where a doctor states that she is suffering from pneumonia. She is described as having been unconscious or severely unwell for several days, during which she has barely eaten or drunk. 

Death and dying

• Clarice recalls the death of her brother Thomas following his time in an asylum. 
• Clarice becomes seriously ill with pneumonia and dies in hospital. Her final moments are depicted. Arthur and Hilda sit with her at her bedside as she becomes increasingly weak. 
• Clarice stops breathing while looking at the sunset through the hospital window. Arthur realises she has died, kisses her and lies beside her body. The play subsequently depicts the grief of Clarice's family and loved ones following her death. 

Depictions of emotional distress and grief

• Clarice experiences significant distress following the failure of her career, the loss of her relationship with Arthur and the discovery that her paintings were deliberately excluded from an overseas exhibition. She throws paintings around her bedroom and later sits curled up among the debris, telling Hilda to throw her work away because it is “worthless”. 
• Clarice is visibly distressed and cries following the disappearance of Arthur. 
• Hilda becomes emotional while discussing the breakdown of her marriage and later grieves Clarice's death. 
• The final sections of the play contain sustained depictions of grief and loss. 

Family conflict and controlling behaviour

• Clarice has a difficult and increasingly strained relationship with her father, Joseph. Joseph is dependent on Clarice's care and repeatedly attempts to control aspects of her life, including questioning where she goes and who she sees. He contacts police after observing Clarice with Arthur, resulting in Arthur's arrest and physical assault. 
• Joseph withholds a message from Arthur when Arthur attempts to contact Clarice. 
• Clarice struggles with her sense of responsibility towards her father and her desire for independence. 

Depictions of fire and destruction

• The production opens with a large bonfire into which paintings are thrown.  
• Later in the play, Joseph burns a substantial number of Clarice's paintings in a fire. Clarice attempts to rescue the paintings, pulling half-burnt canvases from the flames while sparks, embers and smoke fill the scene. The destruction of the paintings is an emotionally significant moment in the play. 

References to institutionalisation

• Clarice describes her brother Thomas being taken away from the family and placed in Willsmere Asylum. She recounts the loss of contact with him and his subsequent death. The historical treatment and institutionalisation of people with disability is discussed within the context of Thomas's story. 

References to death and the destruction of artworks

• After Clarice's death, thousands of her paintings are stored and later discovered in deteriorated condition. Many have been damaged beyond repair. 
• The final scenes reference the loss of a significant number of Clarice's works, with only a portion ultimately able to be salvaged. 

Physical Production Elements

Note: Physical production elements (including haze, loud sound effects, lighting effects etc.) to be added following technical rehearsals. 

Updated 1 September 2026