Sydney Dramaturgical Company is a company that produces theatre in odd years and that, in even years, takes on the work that circulates around it: the way a show is named, positioned, listed, distributed, reviewed, archived.
This work does not surround the show; it is part of it. The description belongs to the thing described; the archive belongs to the performance; the press release belongs to the text. A show is not an object to be packaged after the fact; it is an assemblage that constitutes itself as it meets its outside.
We work with independent productions on the labour that conventionally happens last, badly, or not at all.
Positioning; copy; casting calls; listings; rehearsal documentation; press outreach; audience feedback collection; post-season archive.
Remotely, for productions with no producer, or whose producer is also directing, also performing, also running the lights.
[Total hours of performances streamed]
[
September 1, 2025
|
7:00 PM (evening); 2:00 PM (matinee, 7 September only)
]
Australian premiere of Matthew Gasda's Doomers, a two-act corporate psychodrama about a fictionalised OpenAI boardroom crisis. Directed by Victoria Lenehan. Set in the not-so-distant past — 2023 — when the AI takeover was still speculative, not inevitable. The Sydney Dramaturgical production split performances between two Surry Hills venues: Two80 Cabaret for the evening runs (1, 9, 29, 30 September) and Tom Mann Theatre for the 7 September matinee and evening shows. The 7 September performances were accompanied by a free public panel, AI-pocalypse Now? Australia's AI Future, featuring Professor Alana Maurushat of Western Sydney University. Reviewed in The Scoop by Christian Claye Edwards and in Pulp Magazine by Anastasia Dale. Presented by Sydney Dramaturgical Company as part of Sydney Fringe Festival 2025. 1–30 September 2025.
H
[
September 4, 2025
|
7:00 PM
]
World premiere. Co-written and co-performed by Anastasia Dale and Ava Broinowski, two writers associated with the University of Sydney student press. An experimental two-hander built from a sequence of public addresses — wedding speeches, eulogies, confessions — that interrogated the construction of self-narrative. The production's central scenographic device was a suspended overhead mirror at Rofe Street Theatre, which placed the audience's own reactions in the field of view. Produced by Aubrey Wang. Tech by Rupert McEvoy. Presented by Sydney Dramaturgical Company as part of Sydney Fringe Festival 2025. Reviewed at length in Honi Soit by Alex Butler. 4–6 September 2025, Rofe Street Theatre, Leichhardt.
H
[
September 23, 2025
|
7:00
]
World premiere. Directed by Ziggy Lumley Tow in his theatrical debut. An experimental tragicomedy on immigration, identity, and long-distance relationships under neoliberalism, inspired by the structure of Japanese Noh theatre. Starring Kyrah Brock-Fenton (Home and Away, Housos) as Booba, with Agustin Lamas as Homie. Set design by Lottie Braun (Lottie World) and Hamish Shorrocks. Wardrobe by Diaan Vitnell, NAS BFA Sculpture graduate. Ambient soundtrack by Umki, multidisciplinary artist from Ngunnawal and Ngambri Country. Set pieces sourced from The Bower Reuse and Repair Centre, Marrickville. Presented by Sydney Dramaturgical Company as part of Sydney Fringe Festival 2025. 23–27 September, The Actors Pulse Playhouse, Redfern.
H
In 2025 we did this work on ourselves. Four world or Australian premieres; four Sydney venues; 964 attendees across 17 performances; 81.2 percent average house; $22,383.88 in box office; three published reviews (The Scoop, Pulp Magazine, Honi Soit); a Substack write-up; the company's own writing; a free public lecture series with the University of Sydney's Classics department; an interdisciplinary AI panel.
These were not isolated productions; they are a network of connections we built, and now offer to other productions.
[starting rate in your local currency. SYD, MTL, NYC only.]
