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Steve's essays Bent Man Running published in Growing Up Queer in Australia and Stream drama in Meanjin autumn 2020.
When Indigenous artist Archie Moore took a deep dive into his family’s history for his holographic map of identity as Australia’s entry in the 2024 Venice Biennale, he discovered two very different sets of archives.

On the Scottish/British side of his father, who was 62 when Moore was born in 1970 in Toowoomba, there were meticulous records of war service and a great-great grandfather’s convict transportation from London to Australia in 1820, following a commuted death sentence for theft.


On a small, kite-shaped stage in the heart of Sydney’s Kings Cross sits a theatre of first chances. A crucible for playwrights and actors for nearly 54 years, this space has elevated an Australian voice and vernacular and launched hundreds of new Australian stories.

Each night about 100 audience members squeeze into the historic Stables theatre, so close they can almost mop the sweat off the actors. These performers must duck down rutty stairs into a tiny dressing room; they make a pact not to flush the adjoining toilet during shows.


Janne Kearney always wanted to be an artist. But her dream failed to blossom for decades because of working-class limitations, family and financial commitments and self-doubt in her talent.

Kearney, 61, grew up the youngest of five children in public housing in Norlane, a suburb of Geelong, in the 1960s and ’70s. Her mother died when she was nine and her father, who had little education, encouraged her to leave school in year 11 to get a job.


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