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About

A normal morning, a normal family. There’s nothing special about this day. Then the phones start to go off – something’s happened. ‘Get home quick.’ The family is caught in a nightmare, searching through the day’s details in the hope of finding a sign, a warning. But the thing about fate is that it doesn’t announce itself. Some things in life are just random.

In this astonishing solo performance, Zahra Newman switches from role to role to play a family, a street, a community. This is a beautiful, riveting play of chance, loss and hope.

Supported by The Hive

The Set & Costume Design Associate and Sound Design positions on random are supported by the Walking Up the Hill Foundation

Cast

Zahra Newman

Team

By debbie tucker green
Director Leticia Cáceres
Designer Jacob Nash
Associate Designer Matilda Woodroofe
Lighting Designer Rachel Burke
Composer & Sound Designer THE SWEATS
Associate Sound Designer Jessica Dunn
Stage Manager Keiren Smith

Performance Times

Tuesday & Wednesday 7pm
Thursday & Friday 8.15pm
Saturday 2.15pm & 8.15pm
Sunday 5.15pm

Previews (bookable)
8.15pm, 18 October
8.15pm, 19 October

Opening Night (invitation only)
8.15pm, 20 October

Running Time
45 minutes, no interval

Prices

Book a subscription to secure tickets to Random now. 

Single tickets will go on sale in 2018.

Full Price $49
Subscriber Discount Rate $46
Seniors*/Groups (10 or more) $44
Concession† $35
30-Down# $35
Previews $32
Student Saver# $25

* Seniors prices are available with an Australian Government-issued Seniors Card. Groups (10+) tickets available at same price.
† Concession prices are available with a full-time Australian student card, all Centrelink Pensioner concession cards and Veteran Affairs’ cards, and to Industry members of Actors Equity (MEAA), AACTA, ASMA, ASDA, ARDA, AFTT, Australian Academy of Dramatic Arts, Actors Centre, Performance Space, Australian Writers’ Guild, Artshub and Writing NSW.
# 30-Down and Student Saver prices are available for Previews, Wednesday evening, Thursday evening, Friday evening, Saturday matinee, Saturday evening. 

Full ticket terms and conditions can be found on the Ticket Prices page.

Reviews

In a word, superb.

RealTime Magazine

Director's Note: Leticia Cáceres

I first came cross random on a hot summer’s afternoon in London in 2009. It was my first time at the National Theatre Bookshop, and I was surrounded by all the best new plays that Europe had to offer. Something drew me to debbie’s play random. I recall a quick flick through its pages. I was struck by the play’s form – a monologue poem for four distinct voices, Sister, Brother, Mum, Dad – to be performed by one black actress. I made myself comfortable on the floor and read it. I recall being completely caught up in the quotidian lives of this very relatable family. I also remember the lump in my throat as a random act of violence shattered the humdrum of their ordinary lives, altered forever between breakfast and lunch. My impulse to stage it kicked in immediately. I walked to the counter, paid for the play, and wrote an email to Zahra back home. I said ‘I’m sending you a play. We’re doing it.’

A year later, we were touring random to Brisbane, Sydney and Melbourne. Though our little independent production punched way above its weight, nobody really saw it. The show was relegated to ‘theatre for young audiences’ – often where the best, most innovative theatre is happening – but where only those lucky kids with devoted drama teachers get to experience it. Eamon Flack was one of the few general public members who came along to support this work. Sitting among rowdy Year Nine students at the Sydney Opera House, Eamon got to know and feel for this British-Caribbean family, and he and I have been discussing bringing this show back for general audiences ever since.

debbie tucker green (who spells her name in lower case) is Britain’s leading black female playwright. random was her response to what was considered an epidemic of teenage knife crimes in London between 2007 and 2008.

All too often in Australia we hear of the king-hit that ends a young man’s life, or the brutal knife attack between teens, or the one too many (young) women raped and murdered on our streets. Often the coverage of these tragic events is brief and, when it does stir the public’s interest, it’s usually because some politician has loaded it with prejudices by pointing the finger at a cultural group and their often-tenuous association to ‘gang violence’.

The power of debbie’s random lies in her capacity to cut through the noise and ‘issues’ with compassion and empathy, utilising the full power of theatre combined with soaring poetic writing to encapsulate the very essence of senseless loss for a family and a community. We bear witness to something too familiar, anew.

It is a great privilege to return to this work, which, 10 years on, still speaks with fierce immediacy, passion and clarity of vision.