Content Warnings & Additional Information

This production contains coarse language, explicit depiction of violence and blood, sexual references, discussion of warfare, discussion of infanticide, misogyny, occasional drinking and smoking, references to death or dying, references to mental illness and depictions of ableism, occasional use of prop weapons, loud and dynamic sound, and smoke effects. 

 

COARSE LANGUAGE 

The following coarse language is used throughout the show: 

• Fuck (9) 

• Shit (5) 

• Crap (1) 

• Cunt (1)  

EXPLICIT DEPICTION OF VIOLENCE AND BLOOD 

• There are several moments of choreographed violence between actors, including but not limited to a murder through stabbing.  
• Heavy and frequent use of stage blood, in both costume, set design and performance. There is a particular character who is covered in blood head-to-toe in the beginning scenes of the play.  

 

SEXUAL REFERENCES

There are two moments of simulated intimacy, one where two characters kiss passionately and furtively fondle one another, and one in which a character straddles their seated (and clothed) partner. There is no nudity, and all onstage intimacy has been choreographed by an Intimacy Coordinator.

 

DISCUSSION OF WARFARE 

This is a play about treachery and war and therefore warfare is heavily discussed amongst the characters throughout the entire work including but not limited to: war crimes, murder, treason, infanticide, hostages and revenge killings. 

There is depiction of restrained hostages using rope, mouth gags as well as threat of suffocation via a bag placed on top of a character’s head. 

 

DISCUSSION OF INFANTICIDE 

• Lady Macbeth speaks to Macbeth about her loyalty, saying “...I know how tender it is to love the babe that milks me: I would, while it was smiling in my face, have plucked the nipple from its boneless gums and dashed the brains out, had I sworn as you have done to this.” 

• Macbeth questions Lady Macbeth about why ‘all [their] children die’. It is unclear whether these were miscarriages or infant deaths, but he suggests these deaths were her fault.   

• In the closing scenes of the work, MacDuff accuses Lady Macbeth of ordering the murder of Lady MacDuff’s infant. This case of infanticide is only spoken about, not enacted on stage. 

 

MISOGYNY

This is a play the misogynistic narratives placed upon the character of Lady Macbeth and therefore misogyny is heavily depicted within the work including but not limited to accusations of hysteria. 

 

OCCASIONAL DRINKING AND SMOKING 

• There is occasional depiction of the consumption of alcohol on the stage including the heavy intoxication of guests attending a party. 

• The actor playing Carlin smokes a pipe on stage. 

 

REFERENCES TO DEATH OR DYING 

Death is a key theme of this play and is frequently referenced. The following deaths occur on or off the stage (spoilers ahead):  

• The death of Duncan happens off stage. Macbeth admits to killing him with a poison drink.  

• The death of Banquo happens off stage.  

• The death of Lady Macduff happens off stage. Lady Macbeth admits to killing her.  

• The death of Lady Macduff’s child happens off stage. 

• The death of Macbeth occurs on stage through a slit throat. 

• The death of Lady Macbeth occurs on stage through stabbing.  

 
All onstage violence has been choregraphed by a fight director. 

 

REFERENCES TO MENTAL ILLNESS AND DEPICTIONS OF ABLEISM 

There are frequent references to ‘going mad’ and Macbeth and Lady Macbeth grapple with being of sound mind. Lady Macbeth is accused of going through hysteria. 

 

OCCASIONAL USE OF WEAPONS 

Prop knives are used several times during the play. 

 

PRODUCTION EFFECTS 

• Loud and dynamic sound 
• Smoke effects 

FREQUENT COARSE LANGUAGE 

FREQUENT USE OF RACIST LANGUAGE

Throughout the show there is frequent use of racially violent slurs. Some are explicitly said, and others are implied. 
 

EXPLORATIONS OF RACE AND EXPLICIT DEPICTIONS OF RACISM (BOTH PHYSICAL AND VERBAL)

 
The Hate Race follows Maxine’s childhood growing up Black in the predominantly white suburbs of Western Sydney in the 1980’s and 1990s. 
 
The emotional arc of the work follows Maxine as she faces different forms of racism in her schooling and adult life. We bear witness to Maxine’s journey as she finds her voice and creative expression despite of the hate she faces. Consequently, within the work there is frequent depiction and descriptions of racism – both physical and verbal – towards Maxine. 
 
There is also a scene which speaks about an act of racial violence Maxine has committed towards another student. 
 
The forms of racism explored within the show are: 

• Interpersonal Racism 
• Institutional Racism 
• Systemic Racism 
• Internalised Racism 
• Cultural Appropriation 

The forms of verbal violence within the show include: 

• Racial slurs  
• Threats to harm another individual 
• Bullying 
• Microaggressions 

The forms of physical racial violence within the show include: 

• Bullying such as the throwing of rocks and physically blocking an individual from passing 
• Threats to harm another individual 

 
If you would like more information on what instances of racism occur in the show, please contact engineroom@malthousetheatre.com.au  
 

REFERENCES TO SLAVERY

There are multiple references to slavery within the work. There is a key scene where the Transatlantic Slave Trade and Empire Windrush is explained in detail to child Maxine by her father.

DEPICTIONS OF ANXIETY

There are multiple instances where the character of Maxine experiences mild to severe anxiety, including panic attacks, due to racial attacks.

STROBING LIGHTS AND DYNAMIC SOUND

FREQUENT COARSE AND DEROGATORY LANGUAGE

The following coarse language is used frequently throughout the show:

• Fuck
• Fucking
• Shit
• Asshole

The following derogatory terms and coarse language is used on occasion throughout the show:

• Faggot
• Poof

EXPLICIT DISCUSSIONS AND DEPICTIONS OF RELIGION AND SPIRITUALITY

The core of the work explores the oppression of Joel and Peter’s homosexuality whilst growing up in the Pentecostal and Orthodox Christian churches. There are explicit discussions around religion, blasphemy, sin, faith, atheism, and spiritual experiences. The performers express different perspectives and theatrical interpretations on the topics based off their own lived experiences and beliefs.

There are also depictions of faith-based rituals, practices and gestures including but not limited to:

• Praying (including praying over another individual)
• Praise and worship
• Blessing of others
• Speaking in tongues
• Exorcism

HOMOPHOBIA AND HOMOPHOBIC SLURS

The core of the work explores the oppression of Joel and Peter’s homosexuality whilst growing up in the Pentecostal and Orthodox Christian churches. Throughout the work is multiple descriptions of homophobic lived experiences including but not limited to:

• Conversion Therapy
• Parental rejection after coming out
• Equating homosexuality with being a demon
• Attempted exorcisms

The following homophobic slurs are used in the work:

• Faggot
• Poof

EXPLICIT SEXUAL REFERENCES

Explicit discussions and references regarding sexuality, sexual encounters, pornography, STDs, sexual assault, underage sex between an adult and a minor and questionable consent. The performance includes accounts of the performers’ first sexual experiences as well as their fantasies including but not limited to sexual relations with a religious leader.

EXPLICIT NUDITY AND PORNOGRAPHY

In the show there is full frontal nudity of a performer for a sustained period. Full male genitalia is visible to all audience members.

A pornography magazine is used as a prop in the show. Explicit images of penetrative sex between males is visible to all audience members.

DISCUSSIONS OF GENOCIDE AND IMPERIALISM

The performers discuss the genocide of the Armenian peoples as well as the genocide of Aboriginal and Torres Strait Islander Peoples. These discussions are based off the performer’s own heritages and ancestral histories.

There is mention of the violent branding of a crucifix onto Peter’s relative during the Armenian genocide.

There is also discussion of Christianity throughout history playing a role in the erasure of First Nations language, ceremonies, songs and dances.

 

AUDIENCE INTERACTION

Low level audience interaction in the form of a call and response, and a sing a long framed as a praise and worship session.

PRODUCTION WARNINGS

• Haze
• Flashing lights
• Loud dynamic sound.