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This classic dramatic text is adapted to give meaningful access and relevance to our youth, whilst still engaging the key characters and key issues of family conflict, betrayal, madness and suicide. This high energy contemporary adaptation promises to be educational and entertaining for all students, no matter how familiar or unfamiliar they are with the Bard or Hamlet.

Stop the Press. She is not Wonder Woman. She is only a Thai hooker. She can't save the world. All hell is breaking loose. The world is on the brink of World War III. The world needs superheroes. An american boy is abducted. An ex-beggar holds him hostage. His parents demand justice, compensation and salvation. But the superheroes in Thailand are not Clark Kents, Bruce Waynes or Diana Princes. They are gigolos, hookers and drags. Who will save the boy? Who will save his parents? Who will save the Supermen, Batmen and Wonder Women? Who is saving who?

In untitled women number one, two women who are absolutely still throughout the play, talk about their relationships, their past and future. A highl exploratory play, the text is very opaque - the audience is given snatches of conversations/dialogue with long moments of silence in between. The dialogue makes no obvious reference to the two women's relationship. The audience is left to decide whether the actors are playing a range of characters, or just one character; whether time is moving forwards or backwards. The actors go through a rollercoaster of emotions - one minute they could be shouting and in pain, and the next they are serene, and the very next they are crying. Yet, throughout, they do not move at all. The text makes references to gender, quoting stories about women and talking about sexuality, but ultimately the play transcends its very title in its portrayal of pain, death and interdependence.

untitled cow number one is about the journey of a widowed cow. The play, which is divided into 12 sections and cover 12 days of mourning, is strongly influenced by Hindu and Buddhist texts, images and myths. References are made to Krishna and Shiva, excerpts from the Dhammapada - The Sayings of Buddha - are read; and rituals are performed in this 30-minute play. The monodrama also features viewpoints of other characters. A friend tries to get the cow to move away from her husband's rotting body; the cow's child cires because of mother's lack of attention. In the end, the cow has an outburst, where she accuses the gods and at the same time begs them for help and direction. and with her final lines, another quotation from the Dhammapada, she finally moves on: "I want nothing from this world. And nothing from the next. I am free".

Close—In My Face is a communal collage of what has been shared between a community of people over a six-month period. An array of stories, impressions and thoughts has been arranged to allow the audience to make their own links, imaginings, questions and reflections. Prevalent issues include privacy, intimacy, claustrophobia, loneliness, neighbourly relations, animals, social prejudice and stereotyping of various sorts.

Different Stories are interwoven in this multimedia, multi racial romp.

TWO BROTHERS: He needs Kor Kor by his side.

HUSBAND & WIFE: Someone's dying and they can't do anything about it.

PATRICIA MOK & NORLEENA SALIM: They want to change the rules and no one can stop them.

Once there were two of us...and that's it.