Prayers to Broken Stone
(stage play performed 2017 for Melbourne Fringe)
“Like most families, the Stones aren’t exactly functional. The mother is way too upbeat even while her new partner resents her. One son never looks up from his phone and the other never looks up from his navel. And the only daughter has been indoctrinated in a bizarre apocalyptic cult that doesn’t seem so bizarre now that the end of the world is imminent.”
(co-written with Seon Williams and performed at LaMama Theatre, December 2016)
“Fugues explores the interplay of identity, introspection and the public performance of self. In content and form, it takes inspiration from both meanings of the word fugue. One meaning is psychological: a fugue is a dissociative state where a person loses their sense of identity, suffering temporary amnesia and confusion because of it. The other meaning of the word references a musical composition, wherein a melodic phrase is introduced by one part and then is taken up by the other parts. While the psychological concept denotes a loss of identity, the musicological concept suggests a growth into melodic fullness. Performers bring interpretations of a single character, enacting the cycle of losses and gains that contribute to this particular person’s identity.”
(stage play performed March 2016 at Brunswick Mechanic’s Institute)
“Jaz is a sassy, outspoken rationalist; she doesn’t believe in god or ghosts or any of that new age mumbo jumbo. But when she jokingly attends a séance hosted by an outrageous psychic medium calling herself Madame Bast, Jaz becomes increasingly haunted by a voice from her past, and struggles to maintain her rationality in the face of the dead not quite staying dead. Madame Bast is a quirky comedy about belief, death…and psychics obsessed with ancient Egypt.”
“Sini’s writing is impressive…” –Jo Daly, Weekend Notes.