Enoch leaves QTC with a season that will engage and entertain, and bring a record breaking number of puppets to the stage.

Before leaving for Sydney Festival next month, Wesley Enoch’s parting gift to Queensland’s Theatre Company is a season to “engage and challenge on the need for bravery and moral fortitude in shifting times, providing a forum for debate, diversity and the driving of change.”

The eminent director who has built a reputation on breaking new artistic ground wherever he steps, describes his final season as a collection of love letters to artists and audiences, stories that have been drawn from all he has worked on, invested in and learnt, during his four years’ tenure as Artistic Director.

Amongst the ten credible plays in the season, Enoch’s triumph is a world premiere, The Wider Earth. The production is to be a groundbreaking collaboration between QTC and Dead Puppet Society and is described as a coming-of-age story about science and faith that recounts the tale of a younger Charles Darwin’s voyage on the HMS Beagle.

The Wider Earth

The writer and director of the piece, David Morton said, “This show will be an incredible piece of visual theatre, placing strong emphasis on the staging and use of theatrical devices to paint our own vision of Darwin’s world.”

It’s a production that fits with Enoch’s sense of theatrical adventure. Using over 30 puppets alongside performers, audiences will see a host of beings from tiny beetles and southern right whales to the iconic Galapagos turtles on stage. It is an ambitious work and one that is sure to standout.

The other offerings in the Season range from Molière and Shakespeare to local stories and international masterpieces with Australian writing strongly at the heart of it too. Quartet will bring laughs and tears, Switzerland and Disgraced are sure to be favourites and St Mary’s in Exile is likely to shock and there are many more theatrical treats in-between too.


“Theatre is a sacred place where opposing ideas are argued out to create drama, a place where audiences continue the discussion outside the theatre and where those ideas can take root in social movements. We all have examples of drama that changed our opinions, informed our positions or frustrated us. That is the joy of theatre; one of the last places where we can openly debate, be engaged and entertained,” says Enoch.

However the biggest news that many are still wondering on and debating is who will lead the season when Enoch goes next month. Whoever that person is, it’s likely to arouse much discussion and debate, probably far more than any of the plays in the season of work they have been left to nurture.

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