Matri‐Spiral Descent

Posted in Plays


This one-womyn play of twenty scenes features four characters: a lesbian, her mother, her sister and her daughter and illustrates the quite different lives each of them has lived: from a stay at home mother with three children, to a travelling sister who lives in Europe, to a daughter who became a christian to a radical lesbian feminist activist and writer. In between the monologues, there were readings of extracts from Loose WomenSappho’s Wild Lesbians and Always Start Your Car With Two Bells.

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What Position Did You Hold in the WLM Sister?

Posted in Plays

WHAT POSITION DID YOU HOLD IN THE WOMEN’S LIBERATION MOVEMENT SISTER?, Emily George, Dykebooks, Melbourne, 1987    53 pages

A musical revue of the Women’s Liberation Movement in Melbourne during the 1970s and 1980s in Two Acts as told to a Suffragette who is not convinced that anything much has changed since she began agitating to get votes for womyn back at the turn of the 20th century.

The re-enactments of pertinent aspects of the WLM, including the equal pay tram rides, Consciousness-Raising Groups, the WL Centre, Street Theatre, Women’s Refuges, Women’s Pub, Lesbian Households, Femocrats and Conferences amongst other direct actions are included.

Some of the songs mentioned, like Don’t Be Too Polite Girls (Glen Tomasetti), The Fuckers Song, I Am Woman (Helen Reddy), Lesbian Nation (Lavender Blues), Lavender Blues (Lavender Blues), Take Back Pine Gap (Women for Survival) and Shameless Hussies (Shameless Hussies), serve to emphasise the action in the script.

Wahine Toa and the Pakehas

Posted in Plays

WAHINE TOA AND THE PAKEHAS, Emily George, Dykebooks, Melbourne, 1987    33 pages

This two act play deals with ignorance and prejudice as well as the pain and brutality of racism as Wahini Toa, a Maori lesbian, interacts with a nameless pakeha lesbian in the Australian bush in act one and with her pakeha lover in an Australian city in act two. The play deals with a range of issues as Wahine Toa, the name means strong womyn, and the pakehas try to come to terms with their different cultural ways of being in the world.

The Collective Meeting

Posted in Plays

THE COLLECTIVE MEETING, Emily George, Dykebooks, Melbourne, 1986    36 pages

Have you  ever wondered what goes on in a collective meeting? Do you know why women’s refuges were set up? Is there life after being a refuge worker? Is it true that ‘feminists don’t get jobs they sell out’? Any or all or none of the above, depending on economic status and political commitment, will be answered by reading this play about the interactions between the residents and the paid workers during one collective meeting at a womyn’s refuge.

The Country Cousin/The Bar-Dyke and the Feminist/The Mother and Daughter Play

Posted in Plays

PLAYS    36 pages 


All three plays in this book are two-handers, that is with two characters in each, but the second and third play could be performed either by two performers playing two characters each or by four performers taking on all four characters


Samantha is a city lesbian who isn’t looking forward to a visit from her country cousin Sally whom she suspects is conservative and easily shocked till the surprise ending shows they have more in common than they’d realised.


Teri is a 42 year old Bar-Dyke who is less than impressed that she has somehow been persuaded to do a performance with a radical lesbian feminist who is 24 and calls herself Wild. They manage, despite their diametrically opposed views and lifestyles, to eventually appreciate what the other has to offer during the process of reading a play that reminds them of their own roles as daughters.

The Daughter in the play is aged 17 and her Mother is a radical lesbian feminist who, according to her daughter, had too many far too radically weird ideas when she was growing up and for her part mother does not like the way her daughter is so understandably, in her opinion, critical of her. But its the mother-daughter familial affection, despite the bickering, that wins through in the end.