A visceral portrayal of a conveniently forgotten part of the struggle for gender equality. Part verbatim, part musical theatre, always theatrical...

Suffragettes: Deeds not Words chronicles ten years of torment and torture culminating in the ultimate victory of Emmeline Pankhurst and the other heroic women of the WSPU who took on the established order of belligerent, bullying, self-entitled men and won.

From Titanic to the beginning of The Troubles, the story of BELFAST, Northern Ireland, city on the side of the Lagan, sectarianism and a world gone mad. A visceral tragedy told through the lens of EPIC THEATRE with ten new songs.

Winner of the Best Musical at the Edinburgh Fringe (Clare Awards 2021), and winner of the Week 4 BankSA Best Theatre & Physical Theatre Awards, Adelaide Fringe 2022. "This is Belfast... an extraordinary piece of theatre. ***** " 

“Thou shalt not take the name of the Lord thy God in vain." Belfast. One town, two God-fearing communities under the watchful eye of an Almighty whose wrath and retribution are known to be terrible; and then from behind the assembled dignitaries there to launch the greatest vessel ever to sail the oceans, some common working man, looking up at her and overwhelmed with pride and believing it with all his heart cried: “Even God couldn’t sink the Titanic”.

There was awe then for a split second at the majesty of her, before a roar of agreement, caps and hats, flung high in the air and even those who didn’t cheer, felt it beneath their skin. A curse was on the ship, a curse was on the yard, a curse was on the town, a curse spread far and wide.

Directed by David Dunn. Text by David Dunn. Songs by Mark Howard, David Dunn, Lydia Saroto and Peter Noble.

A plague on both your houses.'

The Epic play with 10 new indie songs. A hybrid drama recontextualising the Romeo and Juliet story and setting it in contemporary Belfast, where the sectarian divide between protestant and catholic families re-defines the feud between the Capulets and the Montagues. The story is told through integration of modern dialogue with some of the more poetic monologues and dialogue from the original text.

Text by David Dunn. Songs by Meg Dunn.

Live. Laugh. Love. Lockdown.

After travelling the world, Whitney Channings discovered that coming home was even more disorientating than a holiday without a map. Throw a quarter-life-crisis and a global pandemic into the mix, and things get... complicated. 

If you’ve ever felt like a tourist struggling to navigate your way through life, then this is the show for you. Come and hear your innermost thoughts put to music, as Whitney examines our quirky, crazy, universal human experiences through her original songs. 

After all, they say hindsight is 2020... right?

Hey kids! Join your pal Oedipus - a little boy a lot like you - as he takes an exciting journey across ancient Greece to become king! You'll learn all about blind people, familial love, and communicable diseases! Sing along to favourite songs like "A Little Complex," "What’s It Like When Ya Get The Plague?" and "My Lover Is My Husband Is My Son"! ...Warning: May contain manslaughter, eye-gouging, and parental incest...

Please note: this play is not for young audiences.

Strange Ancestors is a music theatre show written and performed by Floral Clocks (Richard von Sturmer, Gabriel White, Robert Sly and Kingsley Spargo). Through songs and stories, the show explores the idiosyncratic side of historical personalities like Jean Cocteau, Carl Jung, Sigmund Freud, Clarice Lispector, Mademoiselle de la Force, Étienne de Silhouette and Lindsay Kemp. Cambrian organisms, dancing bears, and eels also feature. Strange Ancestors is an imaginary reunion, or a genealogy of the narrator’s psyche. This is a joyous and transportive show that explores unfamiliar places, minds and times, and leaves audiences energised with music, touched by stories and surprised by the hope that comes from meeting wonderful strangers.

Sample story: 

Étienne de Silhouette

Louis XV’s Treasurer, Étienne de Silhouette, was an austere man. He was tasked with curbing France’s spiralling deficit while strengthening her finances for the Seven Year War against Great Britain. To do this, he targeted the rich and imposed taxes on outward signs of wealth, which included doors and windows, farms, servants and luxury goods. He also reduced pensions. This penny-pinching mindset led to the term à la silhouette being applied to anything that was cheap and inexpensive, such as shadow portraits cut from black paper. Étienne held his position as treasurer for only eight months and then retired to his country estate, leaving behind nothing but the beautiful sound of his name.