The Dance
of Death

By August Strindberg
Director Judy Davis

  • Venue Upstairs Theatre
  • Dates 10 November – 23 December 2018
  • Duration Approx. 2 hours & 10 mins inc. interval *

    An isolated home on a lonely island. A marriage. Alice and Edgar aren’t popular, and they’re not particularly happy. In fact, they loathe each other, and have done for 25 years. Their mutual antipathy is blackly hilarious and seems to have its own equilibrium.

    Into this duet of recrimination and resentment comes Kurt, Alice’s younger cousin. Kurt has a grudge against Edgar that goes way back. Alice senses a lever to gain the upper hand. Edgar is an old soldier, though; he knows how to keep his feet. And so the dance begins, a whirl around the stage until it’s hard to know who’s dancing with whom.

    Judy Davis directs Colin Friels, Pamela Rabe and Toby Schmitz in one of the best theatrical marriage battles ever written. We can’t wait.

    Supported by the Chair’s Circle

    * This running time is an estimate only. Please check again closer to opening night for updates.

    Warning: This production contains gunshots, strobe lighting, the use of herbal cigarettes, nudity, and strong language.


    By August Strindberg
    Director Judy Davis
    Literal translation May-Brit Akerholt
    Set Designer Brian Thomson
    Lighting Designer Matthew Scott
    Choreographer Thomas Egan
    Fight Coordinator Nigel Poulton
    Composer & Sound Designer Paul Charlier
    Production Manager Ren Kenward
    Stage Managers Luke McGettigan, Natalie Moir
    Assistant Stage Manager Khym Scott


    Colin Friels
    Pamela Rabe
    Toby Schmitz
    Giorgia Avery

    Rehearsal images by Brett Boardman
    Production images by Lisa Tomasetti
    • Podcast

      Director Judy Davis and cast members Colin Friels, Pamela Rabe and Toby Schmitz discuss Strindberg’s explosive play and the infinite complexity of the marriage it dissects.

    • Belvoir Briefing

      Artistic Director Eamon Flack is joined by the creatives of Dance of Death to discuss the project’s inception and the enduring power of Strindberg’s 1900 play.

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