A feminist one woman play which was both written and performed by Laura Jackson. The play addresses critical and topical themes and concerns of social media, online privacy, victim blaming and sexual assault, and is made up of seven characters, six of whom have an eight to ten minute monologue. Handle It tells the story of Kelsey Armitage who has compromising pictures put up on Facebook without her permission, which go viral and end up on a pornography site: spiralling out of control. While Kelsey is the protagonist, she is essentially absent throughout the play, and the story is told in these monologues by those who surround around her, the guy who put the pictures up, her sister, a “pro-internet sexologist”, a police officer, a lawyer and finally her step sister. The monologues are interspersed with digital media projections, which demonstrate the “once it’s out there, it’s gone forever”, out-of-your-control nature of material online.
A topical, thought-provoking new work addressing issues of domestic violence, homophobia and street harassment in following dovetailing stories of two best friends; Will, who is gay and Katie, who is a young woman. The two struggle for equality as they search for love in a modern culture which deems them both to be inferior. Katie is armed with little tricks to try to avoid the dangers of being a woman. Don’t walk down the street alone. Don’t walk home at night. Lock the car as soon as you get into it. Thread your keys through your fingers to punch an attacker. Beware of strangers. But when every week, on average, one Australian woman is killed by an intimate partner, does Katie have a hope of getting out unscathed?
Will’s acerbic wit and emotional distance are products of a life lived on the outside. It helps him keep an eye out for danger, in a world where heterosexuality is the epitome of masculinity and he isn’t. It’s not until he finds himself genuinely seeking a relationship that he starts to let down his guard. But is there a happily ever after for Will, when The Culture is waiting at every turn to destroy him? Alternating between direct address monologues and scenes together, the play is a two-hander.