Prometheus Rebound is looking for a Producer/Director

Prometheus Rebound is an anti-fascist play written by acclaimed poet John Kinsella. We are looking for a producer  and/or director  to get it performed!

John Kinsella, acclaimed Australian poet, wrote Prometheus Rebound in 2019 in the hope of having of the Marlowe Society produce it. Due to the coronavirus and other delays, however, this play has never had the opportunity to be properly directed.

This is an excellent project for student directors  and producers  to collaborate with a professional writer!

The play is experimental, with multiple monologues performed concurrently and a Greek chorus’ strophe/antistrophe. John Kinsella is open for you to interpret his play however you wish.

The full play is readable here:
https://drive.google.com/file/d/1lhWjAHI9Y06yzAAYPbSGjeGztMuzLrG8/view?usp=drivesdk

John Kinsella describes how it would be staged:

This play is about non-violent resistance to tyranny. It is about inclusiveness, but with
a deep respect for difference. We are not ‘all’, but we all have ecological, cultural and
social obligations. The absorbing of difference into ‘all’ is often an act of erasure and
this play explores that while looking at intersectional causes and respects, considering
spaces of mutual concern and obligation. It is a play against oppressions and acts of
cultural deletion.
It is a play of no-fixed and possibly ‘fluid’ gender(ing), though a figure like Zeus is
clearly caught in a dynamic of ‘white male’ colonial-patriarchal privilege — but the
role can be interpreted in a number of ‘antagonistic’ ways and how ‘he’ is ‘presented’
is the call of the company performing this piece. Anything that undoes minimising
and disrespectful categorisation is supported by this play! Liberty and freedom of
interpretation of a text, yes, but this is a non-violent antifa play of environmentalism
and social justice, against tyranny.
In addition, it seeks to examine nuances of ‘liberty’ — how one person’s sense of
‘freedom’ might come at the cost of another’s (which I personally find unacceptable).
The dynamics of voices will shift according to interpretation of text, which is why the
voices are ‘modular’ and interactive and overlapping. They have been arranged in this
document in linear form, but should actually be read as ‘adjacent’ and ‘interactive’
parts that can be shuffled around, set at different speech ‘time-signatures’, with the
voices sometimes overlapping or staggered, and sometimes, even often, ‘cross-
talking’, though always mediated by the Chorus. So, the voices are mostly concurrent
outside the interventions of the Chorus and the final speeches of Violence and Peace.
Chorus begins followed by Prometheus but then voicings are flexible as suggested
above.

Please get in touch if you would like to make this long-delayed play finally come to life!

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Contact themarlowesociety@gmail.com before 7th Nov 2025 00:00 for more details.