The Torrents by Oriel Gray

In an Australian screwball comedy, an all female cast takes us back to the 1890s Australia where a local newspaper must accept a woman in the workforce. Oriel Gray is one of Australia’s best yet least celebrated playwrights. Set in a gold mining district ‘The Torrents’ is a witty and engaging play with themes that are as relevant now as when it was written 70 years ago

This 67 seat, intimate theatre has just been built by the Molonglo Group and technically fit out by Elite Event Technology. It is the first private enterprise theatre in the ACT. The Torrents is the first production for this independently run venue. Cast and creatives are paid and some members are part of the shadow-emerge-mentoree program which provides training for time. We don't yet know what this space will be, but we can promise that it ain't like Netflix.

Please note there is a week of preview performances commencing 16 November with an understudy performance 19 November. On that evening, our fantastic COVID-contingency cast members, Lily Mulholland and Chips Jin, will play their dedicated roles of JG Milford and Kingsley Myers respectively. Wednesday 23 November is now sold out but tickets are still available for all previews and 24 November - 3 December.

ABOUT THE PLAYWRIGHT

Oriel Gray (1920-2003)

Themes of social justice and universal equality formed the basis of Oriel's work throughout her career. Once described as "Australia's best known unknown playwright", Oriel Gray was an active presence on our creative scene for over 50 years, initially joining Sydney's left-wing New Theatre in 1937 and eventually becoming its, and possibly Australia's, first writer-in-residence.

Beginning with short radio dramas, political revues and one-act stage plays, Oriel then graduated to the full-length play with Lawson (1944). She followed this with a stage adaptation of her radio serial Western Limit (1946), and a post-war suburban drama My Life is My Affair (1947).

The three act Had We But World Enough (1950) saw her begin to explore racial, social and gender equality while Sky Without Birds (1952), with its inhospitable Nullarbor-edge setting emphasised issues of xenophobia, social mores and post-war rebuilding.

While apartheid era The King Who Wouldn't (1953), which grappled with duty versus social conscience, is her only completed stage play to have never been produced, Oriel's best- known play The Torrents (1955), co-winner of the Playwrights Advisory Board prize, is proving to have longevity in the canon.

Following The Torrents Oriel's one act Faustian comedy, Drive a Hard Bargain (1957), was a Ballarat prize-winner. Marking the close of Oriel's writing principally for the stage and her transition to writing for television was J.C. Williamson prizewinning Burst of Summer (1958) returned to themes of racial and gender equality, social-justice and the significance of an individual's identity within human relationships.

Gray later adapted several of her stage plays for television, wrote original television plays, television serials and co-wrote the filmscript Beyond Reason (1970), while continuing her long association with radio drama, radio for education and young adult drama.

She also wrote a memoir, Exit Left (1985) and a novel, The Animal Shop (1990).

Over many years both Oriel's personal story and her stories, have generated consistent interest, with many citing an ongoing relevance to the contemporary world.

More information and her memoir are available at honourbrightbooks.com.au

TICKETS

All tickets are $55 inclusive of GST but exclusive of Humanitix booking fees. Tickets are for entry only. Dinner and show packages are outlined below. Theatre tickets are available online until one hour before the show. From that point, box office tickets in person are available for purchase. Food and drink tickets are available online until one day before the show. From that point, onsite food and drink purchases are available directly with Ramen Daddy.

SEATING

All tickets are general admission and no seats are reserved so the earlier you arrive, the better position you will have.
Seating is in an L-shape to create a dynamic and intimate playing space.
The venue is fully accessible for wheelchairs with a ramp from the P3 parking spot and same level access from entry into building 3.3 into the theatre all the way to the accessible seating position inside the Mill. As the venue has only just been built, please contact us at hello@milltheatreatdairyroad.com for any access questions. All accessible bookings will be reserved.
Every seat in the house has a great view, and a different view. Patrons walk through the set to find your seats, adding to the intimacy of the space. This means, late arrivals or patrons who leave the theatre before intermission or the end will NOT BE ADMITTED TO THE THEATRE.

RAMEN DADDYFINAL WEEK THURS TO SAT ONLY

We are thrilled to announce that drinks, dinner and show packages are live and ready for booking as Ramen Daddy and Mill Theatre partner up for the first theatre show at Dairy Road. Ramen Daddy is in the same building, about 4 metres down from the Theatre in building 3.3 at Dairy Road.

For each evening performance Thursdays, Fridays and Saturdays November 16 to December 3 the following are available:

PRE SHOW DINNER FROM 530PM, $100

Dinner $45 per person in addition to the $55 show ticket

- Snacks

- Yakitori

- Ramen Daddy Canteen miso soup and rice bowl with your choice of chicken, pork or vegetables

**arrival between 530pm-6pm is recommended in order to be ready for the 730pm show

PRE SHOW SNACKS + DRINK FROM 530PM, $100

Snacks and a Drink $45 per person in addition to the $55 show ticket

- Snacks

- Chicken Katsu Sando or Mozzarella Katsu Sando

- Your choice of Sake, Wine or a Highball

**arrival from 6pm is recommended in order to be ready for the 730pm show

OTHER OPTIONS

All nights Capital Brewery and Brodburger are open. Thursday to Saturday evenings Ramen Daddy Canteen will be open just down the internal walkway from Mill Theatre for pre and intermission drinks and snacks. No booking required but it might be busy! If you are a concession card holder or if you already booked tickets and wish to add a food option, please use the dinner only ticket option.

CREATIVES

Playwright: Oriel Gray

Producer: Lexi Sekuless Productions

Christy/Stuwell: Helen McFarlane

Bernie/Squires: Bronte Batham

Jock/Twimple: Elaine Noon

Gwynne Thomas: Jasmin Shojai

Kingsley Myers: Stef Lekkas

Rufus Torrent: Rachel Howard

Ben Torrent : Kat Smalley

J. G. Milford: Lexi Sekuless

John Manson: Heidi Silberman

COVID contingency: Lily Mulholland, Chips Jin

Director: Lexi Sekuless

Costume Designer: Victoria ‘Fi’ Hopkins

Movement Director: Netty Sharpe

Musical Arrangements: Leisa Keen

Voice and Acting Coach: Sarah Carroll

Production Stage Manager: Zeke Chalmers

COVID-19 SAFETY PROTOCOLS

Tickets are fully refundable and transferable for all COVID related issues only.

ENTERING

The name of every booked attendee will be checked off the list on arrival.
You may be temperature checked before being allowed into the venue. Your temperature needs to be below 37.5.
Please do not attend if you are experiencing any of the following: fever; flu-like symptoms such as coughing, sore throat and fatigue; shortness of breath or have been in contact with a person with a confirmed case of coronavirus.

CAST AND CREW

We have two COVID-contingency cast members. This process means that should any cast or crew be unwell, our contingency cast will step in to ensure the safest environment for the company and audience. The front of house team will ensure audience are alerted to any changes before each show.

LOCATION

The Mill Theatre is in Building 3.3, the Screencraft and KeepCo building which is a short walk from Capital Brewing. There are two easy ways to approach the Theatre:

PARK in P3 at the back of the precinct, walk into the building with the Screencraft sign and we are on the right as you walk in

WALK from Capital Brewing or the Less sculpture into the KeepCo building, pass Ramen Daddy and at the end of the corridor we are on the left.

PARKING

All parking in the precinct is free with several disability parking spots in all the parking locations. The best spot to park is P3 at the back of the precinct. If you park elsewhere please be warned that signage and way-finding around the precinct is extremely difficult. Arrive in plenty of time to possibly get lost, possibly be in a bad mood, and remedy that with a drink at Ramen Daddy before enjoying a smashing show!