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The Signal House / Kings Head Theatre, London,  2019

Remount Assembly Rooms, Edinburgh, 2022

2022, Theater Im Palais, Berlin (new production)

2023, Great Barrington Public Theater, Massachusetts (new production)

A contemporary gothic mystery in which a splintering present gives way to our murky future.


A masterclass in slowly ratcheting up tension with little more than dry ice, an understated soundtrack and tremendously lyrical writing... a satisfying, dark mystery, regularly undercut with black humour, that's sure to haunt you for days."

                        - David Hepburn, The Scotsman

Mountain_photo Sarah Walker-6206.jpg

Co-created with André Jewson


Performing Lines, in association with Sweet Reason and Geelong Arts Centre, Geelong, 2022

Mountain is the story of a man in pieces. Adrift in grief, he becomes fixated by the idea of hiking up a mountain.


A hymn to the transformative power of grief; to the wonder of the unknown.

Touring in 2024 with Performing Lines.



The Signal House / East 15 School of Acting, London, 2018

A remote seaside village, the present.
The carcass of a whale washes up on the beach.
That night, the children begin to hear strange sounds.

Something is moving through the sleep of the village.

Whalesong is a horror story for the anthropocene era, originally developed for a large cast of young actors.



The Signal House, London, 2018

"What do you think is the worst thing about the truth?"

A tightly-wound mystery about guilt both real and imagined. Close was shortlisted for the 2011 Patrick White Playwright's Award and the 2010 Griffin Award.

"A thrilling story told by a highly engaging cast..."

           - Sepy Baghaei, London Pub Theatres



The Ensemble Theatre, Sydney, 2017


"The Plant is a bittersweet, and frequently laugh-out-loud funny play about families, grief and loneliness... Sandy Gore is perfectly cast as Sue, delivering a subtly devastating portrait of this woman on the verge... I only wish more theatre had the ability to touch hearts like this play."

                  - Ben Neutze, Daily Review


"Melds humour and deep pain with disarming ease... Brookman’s empathy for our scrambling, struggling responses to pain, and the ways we try and fail to connect with each other, is the best thing about this play; he loves that we try, that we fail, that we reach out and curl inwards and reach out again. For a play about a flowering plant, it’s unquestionably human.

                 - Cassie Tongue, Time Out



Belvoir St Theatre, Sydney, 2016

"This is a very funny work... Playwright Kit Brookman steps up to the Belvoir main stage here and confidently delivers a meaty exploration of the social, political and cultural changes wrought in Australia over the past 50 years... love never escapes this clan, even as their collective future is visibly breaking down."

                        - Steve Dow, Limelight Magazine


The Great Fire is a vibrant reflection of middle-class confusion, disillusionment, sparkling with wit and energy. The domestic drama is held together by the director (Belvoir AD Eamon Flack) and the acting talents of the impressive cast, who imbue these characters with an honesty and depth of feeling that never feels overly sentimental, the dialogue feeling decidedly real, alive. A must-see."

                        - Hannah Story, The Music



Griffin Theatre Company, Sydney, 2015

“It starts out absurd and then creeps up on you and hits you over the head... a theatrical ambush.”

                    - John McCallum, The Australian

“The brilliant opening scene sets the tone of a comic thriller – funny and scary in equal parts.”

                    - Rebecca Whitton, Australian Stage

"A Rabbit for Kim Jong-il is an ambitious, funny production of which Dürrenmatt himself would be proud."

                  - Jessica Keath, Concrete Playground


co-written with Anne-Louise Sarks

after Ibsen's A Doll's House



Belvoir St Theatre, Sydney, 2014


"A piece of muscular and exciting theatre: funny, moving, and of our time."

              - Sara Fagir, The Guardian



Belvoir St Theatre, Sydney, 2013

“Like watching a casually Australian version of the great French neo-classicist Racine. The surface is restrained, but something is burning fiercely underneath.”

                           - John McCallum, The Australian

"Kit Brookman's exquisite play on modern love and Ancient Greece... Small and Tired is neither small nor tired in its reach, imagination and achievement... Kit Brookman has done something special with this production: savour if you can."

                           - Diana Simmonds, Stage Noise

"Brookman's drama maintains a painstakingly prosaic and truthful tone throughout. A dry humour pervades though there are passages of striking lyricism, too. He has an excellent cast at his disposal and in this intimate space, they generate delicately detailed and shaded characters."

                         -  Jason Blake, Sydney Morning Herald



Stuck Pigs Squealing Theatre / Theatreworks, Melbourne, 2013

"There's no doubt about it; night maybe is a must... this new work by writer Kit Brookman is as beautiful as it is disturbing."

                   - Anne-Marie Peard,

"Truly mesmerizing... kept the audience in a kind of hypnotic trance from beginning to end."

                   - Mark Pearce, Curtaincall

"Kit Brookman’s script is like a cloud of black smoke which slowly envelops us as it deals with issues of love, being alone and abandonment... It is rare when all the elements of a show come together in such a perfect way to create a special piece of theatre. night maybe is a glorious example of this. "

                  - Myron My, Theatrepress



Old 505 Theatre, Sydney, 2011

Remounted La Mama, Melbourne, 2013

New Production Canberra Theatre Centre, 2016

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