Ron Elisha is a playwright based in Melbourne, Australia. He is married and has a son and a daughter.
His stage plays include In Duty Bound (1979), Einstein (1981), Two (1983), Pax Americana (1984), The Levine Comedy (1986), Safe House (1989), Esterhaz (1990), Impropriety (1993), Choice (1994), Unknown Soldier (1996), The Goldberg Variations (2000), A Tree, Falling (2003), Ladies & Gentlemen (2004), Wrongful Life (2005), Controlled Crying (2006), Renaissance (2006), The Schelling Point (2010), Carbon Dating (2011), Stainless Steel Rat (2011, produced in London in 2012 under the title Man In The Middle), The Crown Versus Winslow (2011), Love Field (2013), The Soul Of Wittgenstein (2016), Certificate Of Life (2017) and Window (2017). He has also written a telemovie, Death Duties (1991), two children’s books, Pigtales (1994) and Too Big (1997), and hundreds of feature articles and stories in a variety of magazines, newspapers and journals.
His plays have been produced throughout Australia, New Zealand, United States, United Kingdom, Canada, Poland, Israel and France, and have won a number of awards, including four Australian Writers’ Guild Awards, the Mitch Matthews Award (2006) and the Houston International Film Festival Award for Best Screenplay.
The Soul Of Wittgenstein has just had a smash hit revival season in London in February 2018, Unsolicited Male is due for its world premiere in Melbourne in September 2018, Certificate Of Life had its world premiere in Tel Aviv in April 2017, is still playing and is due for a tour of Australia in 2019, and both Answers and Conversion are due for production (in Melbourne and Sydney respectively) in 2019.
Throughout most of his career, gender politics has been a major theme in much of his work.
Unsolicited Male takes a deep dive into the subject of sexual harassment in the workplace, but in a far more nuanced way than the familiar knee-jerk response we associate with this issue.
Callout, which is due to be performed in repertory with Unsolicited Male in 2019, looks at the personal fallout when such issues are ‘commandeered’ by the online community.
Harvey is a one-man show that looks at the more extreme end of the spectrum, seeking to gain an insight into the psyche of the alpha-male and, at the same time, looking at the ways in which society is complicit.
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