By hannover-web.com In a compelling exploration of whistleblowing and the intricate layers of freedom of information, Australian playwright Patricia Cornelius is gearing up to debut her new play, *Truth*, which focuses on the contentious figure of Julian Assange. Set to premiere in Melbourne next February, this work promises to spark thought-provoking discussions.
*Truth* pulls from crucial episodes in Assange’s life, including his teenage years as a hacker in Melbourne, the founding of WikiLeaks, and his grueling nearly 14-year incarceration that included long stretches in embassies and house arrest in the UK. Recently, he reached a plea deal with the U.S. regarding espionage charges, enabling his return to Australia as a free man.
In an interview with Guardian Australia, Cornelius shared that Assange was not directly involved in the play’s development, but is aware that it is being written. “I feel like it’s great to be independent from that [input],” she commented.
Part of Malthouse Theatre’s 2025 season, *Truth* will be complemented by six other productions, including a unique adaptation of Daphne du Maurier’s *The Birds*, utilizing binaural sound technology, and a fresh take on the Greek myth of Troy.
Matthew Lutton, the artistic director at Malthouse, remarked that *Truth* emerges from Cornelius’s deep-seated desire to address social injustices. “She has a great anger about the way our governments and society silence people that speak the truth,” he noted.
Cornelius plans to delve into the allegations of rape and sexual assault made against Assange by two Swedish women in 2010, which he has consistently denied. Although there were no charges and the investigation has since been dropped, Cornelius acknowledges the significance of these allegations in the public conversation. “Even my bloody doctor told me, ‘What a pity that he was a rapist,’” she recalled. “But I don’t think I ever felt like I had to defend him or denigrate him.”
While the media has heavily scrutinized Assange’s personal life, Cornelius feels this intense focus on his character detracts from the broader story. “It’s kind of a weird old-fashioned avoidance – ‘Look over there!’ rather than looking where we should: at what he revealed and how the U.S. sought to punish him for it,” she explained.
Ultimately, Cornelius believes that the play transcends Assange’s individual story, highlighting the larger theme of individuals seeking to provoke change despite facing severe repercussions. The production will also feature other notable whistleblowers, like Chelsea Manning and Edward Snowden.
The director for *Truth* is Susie Dee, a frequent collaborator with Cornelius. The cast will consist of five actors, including Aljin Abella, Emily Havea, and Eva Seymour, who will collectively portray all characters, featuring multiple versions of Assange on stage simultaneously.
“I’m so happy that at this point in my life I get to write a play that is overtly political,” Cornelius expressed. “Assange is one of ours: whether you like him or not, he’s Australian, which connects us to him. It’s worth exploring his story; it’s worth having our arts engage with these critical themes.”
In addition to *Truth*, Malthouse’s upcoming season is set to offer a rich array of performances that invite audiences into “fantastic and fantasy worlds.” Lutton will also direct Tom Wright’s new play *Troy* and a distinctive one-woman adaptation of *The Birds* starring Paula Arundell, designed to create an immersive listening experience.
The season will feature a diverse lineup, including Meow Meow’s cabaret rendition of Hans Christian Andersen’s *The Red Shoes*, the Australian premiere of *ECHO: Every Cold-Hearted Oxygen* by Iranian playwright Nassim Soleimanpour, and a radical re-envisioning of Chekhov’s *The Cherry Orchard* by Melbourne’s Pony Cam collective. Additionally, a revamped version of the hit musical *A Nightime Travesty* is set to make a splash, promising to be an “epic First Nations vaudevillian musical nightmare.”
