TONIGHT: Till the Day I Die | Trades Hall, Melbourne Fringe

Somehow I’m in a play? And what an incredibly apt production for me to be in.

Till the Day I Die is an antifascist play from 1935 that the German consulate got banned from Australia, so Melbourne’s New Theatre staged it on the back of a truck for ease of evading the cops.

It’s got Nazis (so many Nazis); it’s got queers, Jews, communists, collaborators and the first documented use of the phrase “male chauvinism”; it’s incredibly heartbreaking and chilling and also unnervingly funny. It takes the breath out of me every time and then I come back a little more determined.

Truck advertising the New Theatre’s production of anti-fascist play Till the Day I Die in Sydney, circa September 1941. Source: The Age

Directors Katie Sfetkidis and Mark Wilson are bringing it back 90 years later because these themes of resistance, loyalty and compromise in the face of fascism are so awfully familiar. Again, it’s staged on the back of a truck, with a huge cast of both professional actors and lifelong activists, and many who are both.

The content warning is worth taking in because you will note each of these things: Death, Grief, Mental Health, Misogyny, Murder, Queerphobia or Homophobia, Racism, Self Harm or Suicide, Smoking on Stage, Simulated Blood, Sexual Harassment, Staged Violence, Sexual References, Use of Replica Weapons, Use of Slurs, Violence, Violence Against Women, War

The six-show season sold out incredibly fast, especially after write-ups in The Age and The Guardian, but there are some extra tickets available for tonight’s preview because we have to bring it inside coz of the flash floods. I’m sad not to be on the truck but inside Trades Hall is a pretty fitting place for this too.

You can see me as a communist any day of the week but this is likely your only chance to see me in this play, so snap up tix here.

Till the Day I Die
1-4 October 2026
Preview 9:30pm 1 October 2026 (all other performances now sold out)
Trades Hall
Tickets from $10

Review: Loaded, Malthouse Theatre

For The Saturday Paper, I reviewed the long-awaited stage adaptation of Christos Tsiolkas’ Loaded which is playing at the Malthouse Theatre in Melbourne.

Danny Ball plays Ari in Malthouse Theatre’s 2023 production of Loaded. Photo: TS Pubicity / Tamarah Scott.

Ari’s casual assertion that he’s a wog, not white, scorns millennia of Western empires claiming Greek epistemology as an intellectual forebear while systemically deorientalising it. This feels particularly salient for how homoeroticism in Greek antiquity is absorbed into the lineage of anglophone gay culture today. That troubled relationship to history and lineage is also a recurring trope in migrant narratives, as the point of origin recedes into a romantic homeland fading into the horizon, or becomes a risk and a burden, a chorus of voices clamouring for tribute. Or a third thing: a ship with new parts but the same name.

It’s really interesting to see all the different iterations of this story (I also reviewed the audio play in 2020) and be pushed to tease apart my responses and figure out what’s in the work vs what’s changed in the world or the presentation context or my point of view. A good exercise as a critic!