Big Horn or King Lear?

Grappling with pathos and wrestling with rancour, BIG HORN is a battle between bitterness and resilience, between the oldest truant schoolboy alive and the daughter in law who cannot but care.

Paul Rogers play is a rage against the dying of the light, a sharp edged, do not go gently into that good night of the big sleep.

A comedy of eras, the older Ray Bold prides himself as proof positive the past was a more pleasant place while the younger Cate and still younger Maxine, more pragmatically ponder Ray’s future.

Raging against the slings and arrows of his ageing fortunes, Ray enlists Sioux, a sexy siren to help stave off the ravages of age, conspiring to thwart the inevitable. 

Adult delinquent and dutiful daughter in law go head to head trading barbs of subterranean truths, fault lines in a precipitous past, precarious present and fragile future.

Ray wants to rollick not be a relic. He wants to rock rather than be consigned to a rocking chair. And he wants to liberate his libido in an unconventional way.


Written by Paul Rogers
Directed by Tricia Youlden
Light/Sound by Jacinta Frizelle
Set Design: Allan Walpole
With Richard Cotter, Mel Day, Eloise Martin-Jones & Emma Dalton

BIG HORN plays as the second feature with


Written by Emma Workman
Directed by Richard Cotter
Light/Sound by Jacinta Frizelle
Set Design: Allan Walpole
With Tricia Youlden & Emma Dalton