Prayers to Broken Stone

WHEN
Tuesday 12 September at 7.45pm (Preview)
Wednesday 13 September at 7.45pm (Preview)
Thursday 14 September at 7.45pm
Friday 15 September at 7.45pm
Saturday 16 September at 7.45pm
Tuesday 19 September at 9.15pm
Wednesday 20 September at 9.15pm
Thursday 21 September at 9.15pm
Friday 22 September at 9.15pm
Saturday 23 September at 9.15pm

WHERE
Gasworks Studio Theatre

RUNNING TIME
60 minutes (no interval)

TICKETS
Full $28
Concession $24
Group (6+) $24
Preview (12 & 13 Sept) $20
Early Bird $20
Cheap Tuesday (19 Sept): $20
Katie’s Double Bill $45
Double Bill $40
Triple Bill $60
(Katie’s Double Bill includes tickets to both Prayers to Broken Stone & Katie’s 80s for only $45. Katie’s 80s runs 14, 15 & 16th September)
(Double Bill includes tickets to either Left Too Soon & The Last Journalist on Earth or Prayers to Broken Stone. The Triple Bill includes tickets to all three productions. The Last Journalist on Earth & Left Too Soon perform on 19, 20, 21, 22 & 23 September)
(Early Bird tickets available until midnight 20 August)

LOCKOUT
This performance has a strict lockout. Patrons who arrive late will not be permitted to enter at all, so please arrive on time

WARNING
This performance contains course language, adult themes, strobe & loud noises. It is not suitable for children under 16 years of age.

ACCESS
Wheelchair Accessible

Boutique Theatre presents

Prayers to Broken Stone

Like most families, the Stones are not exactly functional. The mother is way too upbeat even while her new partner resents her. One son never looks up from his phone and the other never looks up from his navel. And the only daughter has been indoctrinated in a bizarre apocalyptic cult that doesn’t seem so bizarre now that the end of the world is imminent.

Prayers to Broken Stone is an original Australian work dealing with family in a darkly comedic way.

Sini’s writing is impressive.”
– Jo Daly, Weekend Notes.
There are some very beautiful moments delivered by all the characters, both in dialogue and monologue.”
– Suhasini Seelin, In Review.
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