I am excited that we have such a wonderful cast and creative team bringing to life the words of a long-ago time, yet still resonating today in their portrayal of human connection.

Mark Kilmurry

Playing 1 May – 13 Jun, don’t miss this heartwarming true story of friendship.

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‘Baby Jane’ is widely regarded as the first film in the genre known as Hagsploitation. This style of horror/thriller centres on characters who are older, once glamorous women, now living lives of seclusion, tormenting others and pining for their lost youth and beauty. It is a genre which plays directly into society’s discomfort with aging women.

Far from being cowed by this, Bette and Joan leaned in and created intense and legendary performances. With BETTE & JOAN, Anton Burge has given us what is essentially a Hagsploitation play, and we have leaned in by interrogating and celebrating Davis and Crawford’s meticulous and deliberate construction of their images and characters.

The interviews they gave and the memoirs they authored create the Bette and Joan they want us to know. We view these women through the lens of the movie camera, and this is largely also how they view themselves.

There’s no question they were very different women with very different stories, but the art of Cinema completely shaped both our vision of them, and their vision of themselves.

Liesel Badorrek

Playing 20 Mar – 25 Apr, Anton Burge’s deliciously wicked two-hander rips back the curtain on the set where egos clashed, tempers flared, and a legendary feud hit boiling point. Don’t miss it!

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The stories regarding Bette Davis and her – supposed – archnemesis Joan Crawford are the stuff of Hollywood legend. Yes, while filming the classic What Ever Happened to Baby Jane? (1962), it was reported that Joan tied weights to herself when Bette had to lift her, because Bette had recently broken her back. Yes, apparently, Bette’s stiletto heel made contact with Joan’s skull when Bette had to kick her across the floor during filming. Yes, when the two were paired up for another movie (eventually Joan was replaced by Olivia de Havilland), Bette ordered Coca-Cola dispensers for the set because she couldn’t stand the taste of Pepsi-Cola (Joan at that time was on the board of Pepsi-Cola, her late husband’s company). And yes, it was recorded that when Bette was nominated for an Oscar for Baby Jane, and Joan wasn’t, Joan campaigned against Bette, even going so far as telling the other nominees that if they couldn’t attend the ceremony, she would be delighted to collect the Oscar on their behalf. When Anne Bancroft won and couldn’t attend, Joan did just that.

BETTE & JOAN – first performed in the West End in 2011 – deals with much of this, but it was never my intention to create merely a catalogue of anecdotes. I was more interested in the position of older actresses in Hollywood at that time and the similarities between the two women, however emphatically Bette stated, “We had absolutely nothing in common!”

It might be argued that much has changed in the business for women since 1962, especially recently, but there is still progress to be made, particularly regarding actresses of that ‘certain age’. Both Bette and Joan were considered by producers to be over the hill in their forties, making the success of What Ever Happened to Baby Jane?, made when they were in their fifties, even more remarkable and satisfying for them.

Since my play’s debut, it has gone on to be performed regularly worldwide, and I am delighted that it is now having this run at the celebrated Ensemble Theatre, with a company who believe in the story of these women and their struggle, beyond the anecdotes.

Anton Burge, London 2026

Playing 20 Mar – 25 Apr, book tickets to BETTE & JOAN today.

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THE SOCIAL LADDER puts three couples together for a very special dinner party, at which Katie Norrie hopes to secure her position amongst Sydney’s cultural elite. She aspires to a major board position and is going all out to ensure she gets it. Outside of these circumstances, it’s unlikely these three couples would be in the same room. Their politics and social status are worlds apart.

David Williamson is a great observer of human behaviour. His fascination with psychology and sociology drives his work. In THE SOCIAL LADDER he explores the nuances of wealth and status, the hypocrisy required to attain it, and the desperation to keep it. The characters in the play either have much, have enough to want more, or have had and want it back.

It is a very funny play and the cast of 6 actors, who I’m overjoyed to work with, capture the tone brilliantly. I’ve been calling it a language play because the power of the words and the muscularity of their arguments carries the play. With the right cast, David’s plays need very little flourish – he’s done the heavy lifting. I admire beyond words the humility required to play shameless characters. I also admire beyond words the empathy required to play characters filled with shame. This play has both and it is a potent combination, deliberately provocative, cleverly hilarious. I needed a fearless cast and I got that in spades.

The set/costume design by Veronique Benett and lighting by Matt Cox, both so exciting, have been sensitively created to centre and illuminate the performances and text. An actor’s playground. And Clare Hennessy’s magical score has been crafted with great attention and detail to enliven each debate and build tension between characters.

I must say how grateful to Mark, Loretta, Carly and the whole Ensemble team who gift me incredible opportunities to direct at their excellent company. I want to acknowledge the tireless, generous, brilliant work of Khalid, Gayda, Lily, Ruby and all members of the production / technical teams across costume, props, lighting and sound support – it has truly been a joy working alongside you all. Much appreciation to all ticketing, box office, front of house and bar staff that will ensure the smooth running of this show.

On this show I’m so lucky to work with Jules Billington as my assistant director – they share my physical aesthetic and love of language, and are an exceptional director and actor. They are also one of my greatest friends.

THE SOCIAL LADDER is a masterclass in verbal sparring and structuring a thrilling social satire. It challenges my creativity and pushes my practice. I’m eternally thrilled that David Williamson trusts me with his work. Please enjoy the delights that this great playwright gives to audiences!

I acknowledge the Cammeraygal people of the Eora nation on whose land this production was made.

Janine Watson

Don’t miss David Williamson’s THE SOCIAL LADDER, playing 23 Jan – 14 Mar.

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