Featuring 360 degree projection mapping around audiences, in a spellbinding tale of love and loss.

Suppose that life exists in a multiverse — a set of parallel existences that contain infinitely different futures. The possibilities in our lives are, quite literally, endless. Every possible event that could happen, does happen, in one universe or another. And if two lovers meet — are drawn together in every version of existence — every possible happy ending and heartbreak that could befall them, will. Nick Payne’s beautiful play, Constellations, explores how even the smallest change in our lives can dramatically alter the course we take. It is a spellbinding exploration of love, science, quantum theory, and infinite possibility for heartbreak or for hope.

Director Harrison Allen

While framed in a beautiful, cross-dimensional love story – the significance of Constellations by Nick Payne is perhaps closer to our lives than one might wish to suspect. I came across Constellations in the search for a script with emotional gravitas. I was captivated and inspired to live in a way that considered the importance of each decision I make. Producing and directing this show was one such meaningful decision. In the paradigm of a multiverse, it may be possible that we live our life unknowing the result of every other possible decision we may or may not have made in each moment. From the person you choose to love, the career you follow, to the very hand you were dealt in life, there are an incomprehensible number of universes where these may just be an alternate reality.

This particular production is significant in our history, as it underlies the legalisation of the Voluntary Assisted Dying Act in Queensland; an important historical moment in this reality we find ourselves in. The Voluntary Assisted Dying Act 2021 (the Act) was passed in September 2021. Voluntary assisted dying will be available to eligible Queenslanders from 1 January 2023.  It will not be a surprise to learn therefore that the production process started in conversation with first-hand affected individuals, including nurses who work in the end of life care sector.

“The awful thing is that I wouldn’t have written any of this stuff – from Constellations to Incognito – without him [Dad] dying.” Writer Nick Payne

I have three prime philosophies as a director; firstly authenticity to the text, to oneself and to the world. Secondly, that it is our job to craft meaningful experiences for audiences. And thirdly, that the artform be progressed through not just imaginations of work, but re-imaginations that push the boundaries of what is theatrically comfortable.

By engaging representation from numerous lives and stories, the work ultimately provided months of sold out audiences with the experience of other diverse perspectives on life. This research-backed directorial approach allowed for a collaborative process on the floor. All my work is centrally collaborative, and this re-imagined production of Constellations is a prime case study of how works can transcend the ordinary through such a standpoint. The actors’ job was exceptionally challenging, from studying very specific accents across the UK, to learning AUSLAN in association with the Australian Deaf Community. 


Never before in the history of Constellations, has a production been situated in a planetarium. As a first for the work, I designed 360 degree 8K resolution projection mapping which surrounded audiences. In each scene, whether in a park, a ballroom or an apartment, we saw galaxies shine through windows and remind audiences of the existential nature of the writing. With audiences immersed in the production to this extent, I seriously doubt this production could be given the life anywhere else that it has been given at the Sir Thomas Brisbane Planetarium. 

Take a look at some VR projections we used in the show!

As a director, I see technology as an opportunity to deeply engage modern audiences and tell more compelling stories. Rather than distracting from the core action, technology can draw us closer to the narrative by altering atmosphere and engage all our senses. To me, the audience experience must be put as a primary consideration in the combination of technology and performance.

While these advancements have gained prominence in the realm of film, particularly through virtual reality (VR), I am excited by their potential in live performance settings. By effectively constructing virtual worlds to complement live acts, these technologies open doors for interactive and participatory experiences that redefine traditional audience-performer dynamics.


William Toft

It's hard to not look back on key moments in your life and wonder "what if?" What if I'd said yes? What if I said no? What if I didn't balance that plastic cup on the dinner table on a school camp where my future wife realised I was a bit weird and she liked that?

The people we might not have met and the relationships that might not have grown, all because of seemingly simple but pivotal things. We can look forward and think nothing we do is significant, but looking back we see how significant the tiniest of actions we take shape the rest of our lives.

Constellations is about this. From how two people can come together and move apart, supporting each other through the insurmountable - through the impossibly difficult but deeply important. And how we can take control and make these choices for ourselves. To shape the world around us how we want with these tiny actions and make our lives our own, unique, bumpy existence in the shared time we have together.

Katie Routson

This show explores, through the matrix of the theory of a multiverse, how different choices and shifts in circumstances can change the experiences and relationships we have. It has prompted me to consider the futility of regretting past choices and the power of being able to embrace the unknown.

Constellations has been a monumental challenge for me as an actor. The character of Marianne is not only complex, but she also goes through multiple character arcs and relationship dynamics throughout the play as the universes switch.

Recently, I worked for a few months with a psychology-backed behaviour change organisation and became familiar with the concept of an ‘internal locus of control’. This has been a very important concept for me to focus on while exploring this story and these characters. As well as personally as I’ve tackled this role - focusing on what we can control, accepting things we can’t control and embracing when things don’t go to plan - aiming for resilience over stability.

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Production Video Trailer

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