Podcast appearances and mentions of declan greene

The culture wars are seeping out of the real world and infiltrating our pages and stages.  Art has always traversed unfamiliar and even dangerous territory. But with recent calls to boycott cultural institutions, donors pulling funding, and the cancellation of works and talent, are some discussions too fraught to engage with? Louise Adler is the Director of Adelaide Writers' Week. She has spent over 30 years in the culture business and continues to be committed to the dissemination of dangerous ideas. Brook Garru Andrew is an artist, curator and writer who is driven by the collisions of intertwined narratives emerging from the mess of the “Colonial Wuba (hole)”. His practice is grounded in his perspective as a Wiradjuri and Celtic person from Australia. Violette Ayad was born on Whadjuk Noongar Boodja to Palestinian and Lebanese parents. She is now based on Gadigal land where she works as an actor, writer, director, and voice artist.  Gil Beckwith has a significant career in the Arts and Not For Profit industry in senior finance and administration management roles. Her working career spans over 40 years and includes working for Sydney Theatre Company, Melbourne Festival, the Victorian AIDS Council, and most recently CEO of Sydney Gay and Lesbian Mardi Gras. Declan Greene is a playwright, director, and dramaturg. As a director he has worked for many of Australia's major theatre companies, including Sydney Theatre Company, Melbourne Theatre Company, Malthouse, Belvoir, and Griffin Theatre Company.  Emile Sherman is an Academy Award and Emmy Award-winning film and television producer who co-founded See-Saw Films in 2008. Based in Sydney and London, See-Saw Films has worked with many of the world's leading filmmakers and actors.  Chaired by philosopher and Executive Director of The Ethics Centre, Simon Longstaff.

Ash Flanders made his reputation with wildly funny, often surreal queer theatre made under the name Sisters Grimm with his creative partner Declan Greene. Now, Ash has put the glitter and wigs aside and written a new, naturalistic play called This Is Living.Also, multidisciplinary artist and "radical mischief-maker" Candy Bowers shares the works of art that have most inspired her journey on Top Shelf and we explore the themes of Stephen Sondheim's Sweeney Todd: The Demon Barber Fleet Street with the Sydney Opera House cast.

Ash Flanders made his reputation with wildly funny, often surreal queer theatre made under the name Sisters Grimm with his creative partner Declan Greene. Now, Ash has put the glitter and wigs aside and written a new, naturalistic play called This Is Living. Also, multidisciplinary artist and "radical mischief-maker" Candy Bowers shares the works of art that have most inspired her journey on Top Shelf and we explore the themes of Stephen Sondheim's Sweeney Todd: The Demon Barber Fleet Street with the Sydney Opera House cast.

Ash Flanders is a multi-award winning playwright and screenwriter from sunny Melbourne. In 2006 he and Declan Greene formed theatre company Sisters Grimm and together they have written a dozen shows including Summertime in the Garden of Eden (Theatre Works, Griffin Theatre), Little Mercy (STC), The Sovereign Wife (MTC), Calpurnia Descending (Malthouse/STC) and Lilith: The Jungle Girl (MTC). Ash has also created the solo shows Meme Girls (Malthouse), Special Victim (Feast Festival), Playing to Win (Arts Centre Melbourne), Ash Flanders is NOTHING and End Of (Darebin Speakeasy) as well as SS Metaphor at The Malthouse Theatre. Ash has been invited to present work for the Emerging Writers' Festival, The Wheeler Centre's Show of the Year as well as Women of Letters, where his letter was chosen to be published in the book Signed, Sealed, Delivered: Women of Letters. His erotic Golden Girls fan fiction became the short film Divine Decadence of Cheesecake which played Frameline, Out On Film, LLFF Canada and other international film festivals. He co-wrote the web series FRIENDLY (over 10K views) and has a slate of fresh screen projects in development, including a series taken from the world of his solo shows. Ash will premiere a new play, This is Living, at The Malthouse Theatre in Melbourne, in 2023. Over the next 2 months, Ash will be performing a solo show, also penned by Ash; titled End Of. It plays the Griffin Theatre in Sydney from October 13th to November 5th. The STAGES podcast is available to access and subscribe from Spotify and Apple podcasts. Or from wherever you access your favourite podcasts. A conversation with creatives about craft and career. Recipient of Best New Podcast at 2019 Australian Podcast Awards. Follow socials on instagram (stagespodcast) and facebook (Stages). www.stagespodcast.com.au

Declan Greene is the Artistic Director of Griffin Theatre Company and works as a playwright, dramaturg and director. He was previously Resident Artist at Malthouse Theatre. As a playwright, his work includes Eight Gigabytes of Hardcore Pornography, The Homosexuals, or ‘Faggots', Melancholia, Moth, and Pompeii L.A. Declan co-founded queer experimental theatre company Sisters Grimm with Ash Flanders in 2006, and has directed and co-created all their productions to date, including: for Griffin Independent and Theatre Works: Summertime in the Garden of Eden; for Malthouse Theatre and Sydney Theatre Company: Calpurnia Descending; for Melbourne Theatre Company: Lilith: The Jungle Girl; and for Sydney Theatre Company: Little Mercy. As a director, his credits include: for Griffin: Dogged, Green Park, Whitefella Yella Tree; for Malthouse Theatre: Wake in Fright; for Malthouse Theatre and Sydney Theatre Company: Blackie Blackie Brown; for Sydney Theatre Company: Hamlet: Prince of Skidmark; for ZLMD Shakespeare Company: Conviction. Declan has won awards including the Malcolm Robertson Prize, the Max Afford Playwright's Award, an AWGIE for Theatre for Young Audiences and the Green Room Award for Best Original Writing. Declan has just launched the 2023 season for the Griffin Theatre Company. He joined STAGES to elaborate on the season and to reflect on his unique role as an Artistic Director and as one of our most exciting and inventive theatre-makers. The STAGES podcast is available to access and subscribe from Spotify and Apple podcasts. Or from wherever you access your favourite podcasts. A conversation with creatives about craft and career. Recipient of Best New Podcast at 2019 Australian Podcast Awards. Follow socials on instagram (stagespodcast) and facebook (Stages). www.stagespodcast.com.au

Pip Edwards is a professional actor, filmmaker, acting/career coach, and entrepreneur. As an actor, Pip's television credits include Home & Away, Les Norton, Miss Fisher's Murder Mysteries, ANZAC Girls, Wonderland and Forever Young. Her film credits include A Few Less Men, Little Black Dress, Who's That Boy, upcoming feature films June Again, Carmen, and Death Doula, as well as numerous short films and TVCs. Theatre credits include Beverly in Abigail's Party, and Regina in Ghosts (both with The Melbourne Theatre Company), as well as various productions with directors including Kip Williams, Imara Savage, Stephen Nicolazzo, Gale Edwards and Declan Greene. Pip runs a private coaching studio Pip Edwards Creative, where she coaches and mentors actors for auditions, screen-tests, and business/career/mindset coaching. Pip has taught extensively throughout Australia, at schools such as NIDA, Actors Centre, SAS, Sydney Film School, HUB Studio, Stagemilk, and for MEAA to name a few.   Pip has a Bachelor of Dramatic Arts from NIDA and Bachelor of Creative Arts (Filmmaking/Arts Management/Law) from Melbourne University. She has completed further extensive training in both Australia and the US, including with coaches such as Ivana Chubbuck, Larry Moss, Margie Haber, Leslie Kahn and at Upright Citizens Brigade in Los Angeles. www.pipedwardscreative.com/   See omnystudio.com/listener for privacy information.

Fresh off the back of launching his first ever season at Griffin, here's your chance to get to know our new Artistic Director Declan Greene. From his first foray on the Stables stage through to his vision for Griffin's future, Declan tells us why he wouldn't want to run any other theatre company, and what's exciting him artistically as the Stables launches into its next 50 years. See omnystudio.com/listener for privacy information.

Richard talks with Miranda Hill, the director of Homophonic, which is a Midsumma show of queer contemporary classical music. Then he speaks with Declan Greene, director of Feather in the Web, which is a contemporary Australian play with a very unusual and challenging main character. Declan describes the play as "super fun and then then it's super not fun". Finally Richard speaks with Tomas Parrish who plays the lead role in When the Light Leaves which is a play about assisted dying. If you find that topic challenging, you can stop the podcast at 30 minutes.

Elena Kats-Chernin and Justin Fleming have written a new work for Opera Australia about the life of the brilliant, troubled Australian artist Brett Whiteley, in the second instalment of The Cost of Art, Hannah Reich speaks to theatre-maker Declan Greene, dancer and choreographer Anna Seymour and Urban Theatre Projects' Jessica Olivieri, theatre critic Tim Byrne reviews Bell Shakespeare's new production of Much Ado About Nothing, and an Australian production of Bring It On: The Musical with music and lyrics co-written by Lin-Manuel Miranda is now on tour.

Elena Kats-Chernin and Justin Fleming have written a new work for Opera Australia about the life of the brilliant, troubled Australian artist Brett Whiteley, in the second instalment of The Cost of Art, Hannah Reich speaks to theatre-maker Declan Greene, dancer and choreographer Anna Seymour and Urban Theatre Projects' Jessica Olivieri, theatre critic Tim Byrne reviews Bell Shakespeare's new production of Much Ado About Nothing, and an Australian production of Bring It On: The Musical with music and lyrics co-written by Lin-Manuel Miranda is now on tour.

Breakfasters are back, and as promised, they do a recap the community cup. Geraldine shares her favourite experience from her trip to New Zealand: the glow worm cave. Noni Hazlehurst visits the breakfast trio to talk about her fresh documentary series on SBS, “Every Family Has a Secret”. Wake in Fright by Kenneth Cook is one of the most iconic novels set in the Australian outback, and director Declan Greene from the Malthouse Theatre visits to talks about his vision for the story and how it translates to the stage. Australian political satirists Sammy J. brings laughter and humour into the studio. And finally, Erik Jensen joins the Breakfasters to talk about politics in light of his new essay ”The Prosperity Gospel: How Scott Morrison Won and Bill Shorten Lost”.

Declan shares an un-inspirational coming of age story. Declan Greene is an award winning theatre-maker and Resident Artist at Malthouse Theatre. As a playwright, his work includes Moth, Pompeii, L.A., Eight Gigabytes of Hardcore Pornography, I Am a Miracle, and The Homosexuals, or ‘Faggots’, which have been produced across Australia, Europe, the US, and the UK. Alongside Ash Flanders, Declan co-runs queer independent theatre company Sisters Grimm. In 2019 he is directing and adapting Kenneth Cook's Wake In Fright for Malthouse Theatre. Queerstories is an LGBTQIA+ storytelling night programmed by Maeve Marsden, with regular events in Sydney, Melbourne and Brisbane. For Queerstories event dates, visit www.maevemarsden.com, and follow Queerstories on Facebook. The new Queerstories book is published by Hachette Australia, and can be purchased on Booktopia. To support Queerstories, become a patron at www.patreon.com/ladysingsitbetter And for gay stuff, insomnia rant and photos of my dog Frank follow me - Maeve Marsden - on Twitter and Instagram.

In Claire Christian's new play Lysa and the Freeborn Dames, gay first-year uni student Lysa King wages war on her home town's entrenched misogyny, Lars Von Trier's brutal film Melancholia is adapted for the stage, directed by Matthew Lutton, regional singers join the stars of Opera Queensland in Gilbert & Sullivan's Ruddigore, or The Witch's Curse, and passions smoulder and fists fly in the stage musical adaptation of John Waters' Cry-Baby.

Stream podcast episodes on demand from www.bitesz.com (mobile friendly).Melancholia (Malthouse Theatre, Melbourne)BY LARS VON TRIEROn the night of her boisterous wedding—amid corsages, canapés and Clicquot—Justine quietly falls apart. The world will surely follow suit.Justine’s sister Claire stages a lavish wedding party at a mansion in the mountains, and as the fever dream of the wedding ceremony careens towards disaster, Justine is drawn to an innocuous spot in the sky. That spot is the wayward planet Melancholia, on a collision course with Earth.This epic cinematic masterpiece is reimagined for the stage by groundbreaking playwright Declan Greene and directed by Matthew Lutton, featuring an extraordinary ensemble of performers.For more details, visit:  https://malthousetheatre.com.au/whats-on/melancholia Theatre First RSS feed:   https://audioboom.com/channels/4839371.rssSubscribe, rate and review Theatre First at all good podcatcher apps, including Apple Podcasts (formerly iTunes), Stitcher, Pocket Casts, audioBoom, CastBox.FM, Podbean etc.If you're enjoying Theatre First podcast, please share and tell your friends. Your support would be appreciated...thank you.#theatre #stage #reviews #melbourne #australia Learn more about your ad choices. Visit megaphone.fm/adchoices See acast.com/privacy for privacy and opt-out information.

What does it take to make work that is excites people on a national and international level?What are you prepared to do in order to make work you are truly proud of? My guest this week is theatre writer and director Declan Greene. He has a body of work that spans every major theatre institution in the country. He got his start in Melbourne’s literal and figurative underground - staging plays in underground carparks and building sites - and is now of the best regarded theatre makers of his generation. But that doesn’t mean he’s lost his edge.  Declan's work still crosses genres and formats and merges high-brow and low-brow culture, queer performance art, multimedia, in-jokes, bad language, pop art and surrealist absurdity - but always with a view to comment on society or humanity or the profanity of culture - or all of the above. His recent direction of Blackie Blackie Brown - written by Nakia Lui and currently showing at the STC - is no exception. It melds Japanese manga iconography with Tarantino themes for a tale of aboriginal revenge on white-settler injustice.The play is simultaneously visually astounding, shocking, thought-provoking funny and tapping of some current-day zeitgeist that makes it feel truly progressive. Next up, in July this year, the MTC will stage Declan's adaptation of the Lars Von Trier film, Melancholia. And it is Declan’s tenacity that I am most admiring of.  In the decade, he has amassed a huge body of work - averaging the release of two plays a year. When I sat down with Declan for this interview last year, around the time of the release of his play The Homosexuals, I wanted to find out what his creative process looks like in a practical sense - how does he manage to average multiple major works in a year… and before someone was paying him to do so, how did create a lifestyle in which he could get good in the first place? This episode is great for anyone looking to get active in a their ideal career space by pooling passion and resources amongst your creative community. There’s never been a better time to ‘screw it - just do it’.  

An interview with Declan Greene about his play The Homosexuals or 'Faggots', aired on Canvas: Art & Ideas on FBi Radio 94.5. ~ The Homosexuals or 'Faggots' By Declan Greene 17 March - 29 April 2017 Presented by Griffin Theatre Company in association with Malthouse Theatre Gay newlyweds Warren and Kim have it all – a small dog, a joint gym membership and a 20sqm apartment with stunning views. But in 2017 if you offend the wrong person your life will go straight down the Twitter-toilet. So on the night of Mardi Gras, when caught wearing a compromising costume, Kim’s got to think fast. How will he placate an angry radical-queer academic who already loathes gay men? Lies, lies and more lies. Throw in an Instagram affair, a missing baggie of cocaine, and a burglar (naturally), and you’ve got a very Potts Point version of a classic farce, laced with black-comic political intrigue. Director Lee Lewis reunites with Declan Greene (Summertime in the Garden of Eden, Eight Gigabytes of Hardcore Pornography) to venture where many fear to tread, as Declan asks some extraordinarily difficult questions of his own community: White Gay Men. How was marriage ordained as the #1 LGBTIQA issue of our time? Why do some colours in the rainbow flag get to shine brighter than others? And when was it, exactly, that gay men stopped throwing bottles and started buying Prosecco? The Homosexuals is very funny. It’s potentially very offensive. But one thing’s certain – it’ll be the talking point of our season. Produced by Aurora Scott for Canvas: Art & Ideas on FBi Radio

In this episode Tim Bishop, Nana Miss Koori and Liza-Mare Syron talk to us about Koori Gras at 107 Projects. We play an interview with playwright Declan Greene about his upcoming work 'The Homosexuals' at Griffin Theatre Company and Malthouse Theatre, and artist Tony Albert joins us in the studio to talk about his practice and upcoming projects. Tracks by Anastasia Zaravinos aka Adonis.

"The weird thing is that LGBTIQ exists as a category of being, that’s designated by mainstream culture, when actually it’s unbelievably fragmented. And there’s so much intra-group conflict because everyone actually has really, really different aims, and different objectives, and their struggle doesn’t mirror that of the other groups at all.” – Declan Greene "You find these little things that help... 'If I can channel Judy Garland, If I can channel the strength of this survivor'... For some reason, it usually is a female survivor, because you don't want to identify with the straight men that are making your life hell, or that you don't relate to. You relate to the women who are outsiders as well." - Ash Flanders In the third episode of season four, we discuss what queer is and isn't with playwright Declan Greene and performer Ash Flanders, who together make up Sisters Grimm, Melbourne-based queer performance collective par excellence. Sisters Grimm have risen through the ranks of Melbourne's independent theatre with a series of extremely well received shows, very quickly progressing from backyard performances for friends to sold-out shows at Malthouse Theatre, Sydney Theatre Company, Melbourne Theatre Company, Sydney's Griffin Theatre and Belvoir. By now, they have, together and separately, performed in all of Australia's major theatre houses, and won an incredible number of awards. They have been described in The Age as 'treading the line between the frivolous and the furiously political better than anyone in Australia right now'. And it is their brand of frivolous, furiously political queer theatre that we talk about today. Drag, the way it speaks gender as a foreign language, and its undercurrent of dissecting, enabling, and owning, victimhood, as well as its central position in queer culture, is one of our great topics. Drag features prominently and aggressively in the Sisters Grimm oeuvre, which features every kind of cross-casting imaginable, most notably when appropriating Euro-Australian colonial narratives. The queer eye is particularly suited to dissecting national and colonial myths because it is an outsider eye, say Ash and Declan, giving numerous examples of the ways in which the queer individual grows up interested in aesthetics, in surfaces, in the performativity of identity, and the way in which oppressive power is exercised through cultural myths - and perhaps becomes particularly fluent in ways to dismantle that power. "I think you develop critical facilities, as a queer person, because you learn to question the texts that you receive culturally... You know that those narratives don’t articulate your experience of being, so you have to figure out how to dismantle them, and to insert yourself into them in order to identify with them.” – Declan Greene Today's conversation was yet another slightly ridiculous endeavour, recorded between Melbourne and a handmade recording teepee in a house in Brussels. It was also a feat of scheduling: we have been talking about recording a conversation for over two years, but Declan and Ash have been so busy making excellent theatre across Australia, sometimes together, sometimes separately, that finding a time when we are all in the same city was harder than trying to synchronise the schedules of four busy divas. As their new show, Lilith: The Jungle Girl, opened at Melbourne Theatre Company, Declan and Ash found one free evening to join us for a conversation, and for this we are immensely, immensely grateful. The conversation you are listening is very dear to our hearts, and not only because of the punk spirit in which it was recorded. These two men are dear friends of the Audio Stage team, extraordinary theatre-makers, and brilliant minds. While Sisters Grimm are easy to like for the dazzling wit and deceivingly effortless cool of their shows, there is real rigour in the thinking behind their work. It comes to the fore as they speak,

Interviews, news and reviews ranging across the arts. Today's show features artist Ella Whateley speaking about her exhibitionThe Metaphysics Of Space: Painting a Body of Light. Also Richard speaks to writer Zoe Dawson and director Declan Greene about their new play 'Conviction'. Creator Natasha Jynel stops by to discuss Auto Bio Queen: Based on the True Story of Beni Lola at The Butterfly Club.

Hosts Lauren and Erin were joined in the studio with former SYNner DECLAN GREENE – the director and dramaturg of the world premiere show CONVICTION, “a caustically funny examination of contemporary feminism and self-authorship”. Declan is also the 2016 Resident Artist at the Malthouse Theatre. CONVICTION is being performed at the Northcote Town Hall, Main Hall 189 High Street Northcote starting the 21st July to 6th August.

Hosts Lauren and Erin were joined in the studio with former SYNner DECLAN GREENE – the director and dramaturg of the world premiere show CONVICTION, “a caustically funny examination of contemporary feminism and self-authorship”. Declan is also the 2016 Resident Artist at the Malthouse Theatre. CONVICTION is being performed at the Northcote Town Hall, Main Hall 189 High Street Northcote starting the 21st July to 6th August.See omnystudio.com/listener for privacy information.

In our second episode we discuss I Am a Miracle written by Declan Greene and produced by The Malthouse Theatre. We also cover Picnic written by Marieke Hardy and produced by KAGE Theatre.

Lia Incognita chats to Declan Greene about his play I AM A MIRACLE at Malthouse Theatre. They talk about his play, injustice, queer sincerity and how to make theatre about brutality without creating a spectacle of suffering.+Thanh Hằng chats to Gabi Briggs, a Koori woman from sovereign Anaiwan and Gumbangier peoples and is a photographer as well as a video and performance artist. She is also a co-founder of Sovereign Apocalpse. Gabi chats to Thanh Hằng about Indigenous Sovereignty, the future, zine making and her installation at the Gertrude Street Projection Festival. Music:Trying to Leave my Body - M.LamarPay the Rent - Paul GorrieShe is the Light - Zaachariaha FeildingPemulwuy - Marlene Cummins 

"At the end of Keating's prime-ministership, he was talking about embracing complexity and multiculturalism, and the difficulties there. Howard's masterstroke was to come in and say: "I want Australians to be comfortable about their past, their present and their future." Which is to say, "we're not going to talk about this anymore." And I feel like, since that period, we have not had a robust national conversation. Where is the cultural discourse about any of this stuff? We've had the apology, great; but that is not the end. Kevin Rudd's apology should have been the beginning of this, kind of, great evolution in the way Australians see themselves. But I think that's failed." - Mark Wilson "I would characterise the Australian experience as, unfortunately, having to reflect a majority, and a popular view - more than art is required to in other cultures." - Marcel Dorney In episode four of Audio Stage, our studio is full. We have gathered some of our favourite people, to talk about what it means to work in contemporary Australian theatre, and operate without history. Fleur is away for a wedding (luckily, not hers!), but the magic of technology, and Kieran's amazing production skills, keep her present. Meanwhile, Jana is joined in the studio by: Marcel Dorney, Artistic Director of Melbourne independent theatre collective Elbow Room Productions; John Kachoyan, Co-Artistic Director of MKA: Theatre of New Writing; and Mark Wilson, independent theatre-maker and dramaturg. "[The ruthlessly contemporary adaptations of classics] reflects - in a strange way - a kind of fantasy that white Australians have about themselves: that we can be the subject of great drama without coming to terms with our history." - Marcel Dorney Discussed in this episode: the first European play ever performed in Australia, Oriel Gray's The Torrents, the 'state of the nation' play, John Howard and Paul Keating, the curse of the binaries of 'Australian' and 'unAustralian', watching theatre for information, Barrie Kosky and all our greatest theatre exports, being allowed to fail, generational warfare, Sisters Grimm and Declan Greene, killing art with egalitarianism, Lally Katz, and the theatre-enhancing properties of cheap airfares. "I find it interesting that we know more about a theatre culture that is so different and so vast, and so removed, than we do about 10 years ago. [It creates] people that think they've invented the wheel. Every 10 years a generation stands up on stage and applauds itself for inventing, I don't know, postdramatic theatre, or moving away from the text, or rediscovering the text." - John Kachoyan Enjoy and stay tuned: we have more exciting and intellectually rigorous conversations to come. Podcast bibliography: Julian Meyrick: Trapped by the Past, Why Our Theatre is Facing Paralysis (Platform Papers, Quarterly essays on the performing atrs, No 3, January 2005) Photo credits: Sarah Walker (Wilson), Ponch Hawkes (Dorney).

They met online. She’s a nurse in her forties, trapped in a loop of catastrophic debt. He’s in IT, trapped in his own loop of nightly porn-trawling. Both crave something else, but not necessarily each other. A deceptively compassionate cringe-comedy of mid-life loneliness and hidden zip folders. Please note: this episode contains strong language and adult themes.--Declan Greene is a writer and theatre-maker based in Melbourne. His plays include A Black Joy, Moth, Summertime in the Garden of Eden and Little Mercy. His work has been produced at Malthouse Theatre, Melbourne Theatre Company, Sydney Theatre Company, the Sydney Opera House and various backyards in suburban Melbourne. Awards include the Malcolm Robertson Prize, the R.E. Ross Trust Playwright’s Development Award, an AWGIE Award and Green Room Awards.

Toby Leon reads Declan Greene’s Excruciating Theatre. It's Chris Kohn’s foreword to Moth, by Declan Greene, which Chris commissioned in 2010 when he was the Artistic Director of Arena Theatre Company in Melbourne.

Sebastian: fifteen, terminally unpopular, an overactive imagination and an obsession with anime and death. His only friend, Claryssa: emo Wiccan art-freak, barely one rung higher than him on the social ladder. A night drinking down at the cricket nets soon gives way to an ecstatic vision that leaves Sebastian unconscious, and their friendship left in ruin.--Declan Greene is a writer and theatre-maker based in Melbourne. His plays include A Black Joy, Eight Gigabytes of Hardcore Pornography, Summertime in the Garden of Eden and Little Mercy. His work has been produced at Malthouse Theatre, Melbourne Theatre Company, Sydney Theatre Company, the Sydney Opera House and various backyards in suburban Melbourne. Awards include the Malcolm Robertson Prize, the R.E. Ross Trust Playwright’s Development Award, an AWGIE Award and Green Room Awards.