Sydney's Old Fitzroy and its theatrical operation are a cultural touchstone that uniquely connects generations in a city slavishly fixated on the latest fashion. A no-nonsense bar that retains its history and popularity. Nightlife without Old Fitzroy couldn't be a tamer proposition. With over 100 years of history, this family-run gem is tucked away in the back streets of Woolloomooloo, not far from the once-seedy laneways of Sydney's Kings Cross. Say no to plagiarism. Get a tailor-made essay on "Why Violent Video Games Shouldn't Be Banned"? Get an original essay Featuring Australia's only pub theatre, the Old Fitz Theater seats 60 people and offers quality performances of classics and contemporary independent theatre. With no contracts with large breweries, the bar's sixteen taps are filled with an excellent range of craft beers, which continually rotate and follow the season. What's not to love? In 2015, Red Line Productions reopened the doors of the legendary Old Fitz Theatre, a venue built in 1997 by a group of passionate theater makers. Alumni of the Old Fitz's small stage include Tim Minchin, Kate Mulvany, Mark Priestley, Toby Schmitz, Ewen Leslie, Brendan Cowell, Blazey Best, Christopher Stollery, Travis Cotton, Ella Scott Lynch, Patrick Brammell and Leon Ford. the venue allows for fearless programming and production, which has led The Old Fitz to establish itself as a quality ensemble theatre. Enter David Hare's Judas Kiss: In the spring of 1895, the intrepid, impeccably elegant poet, playwright, and bon vivant Oscar Wilde was at the height of his witty existence. One of his masterpieces, The Importance of Being Ernest, had become a hit in the West End, making him the toast of London. Yet by the summer he was serving two years in prison for indecent exposure. The opening scene of David Hare's 1998 drama Judas Kiss is the Cadogan Hotel in 1895, where Wilde collects his thoughts after losing a libel suit against the Marquess of Queensbury, the father of his lover Alfred Douglas, also known as " Boisie". The Marquess, enraged by the couple's recklessly public and, from the point of view of Victorian society, amoral relationship, openly insulted the writer and a lawsuit ensued. Now the defeated writer struggles with a burden of conscience: he flees to France to escape persecution or he stays and maintains his position, even when Boisie's love is fickle and inconstant. The Redline incarnation of the production begins with a bang with a naked young couple. facing it with enthusiasm. After an unplanned coitus interruptus, we discover that they are a servant and a maid taking advantage of the bed in a hotel room that they are supposed to prepare for Mr. Wilde. The author finds himself in the midst of the public shame that has ruined his life and career, facing a trial for indecency (id est homosexuality) and the prospect of immediate incarceration. Ever devoted to decadence, Wilde resigns himself to enjoying the present moment - sipping wine, sitting down to lunch, arguing and smooching with his young lover, Bosie, all while a crowd gathers outside and his arrest seems imminent. His supporters take different sides in Oscar's fight-or-flight decision, with Bosie insisting he might be able to help if Wilde stays, as his father is the writer's opponent in court, while former lover and trusted friend Wilde's Robert Ross begs him to run away. to France on the next train. He misses the opportunity and the second act sees Wilde in exile after two years of imprisonment. He and Bosie are down in Naples, where they are short of money but rich in the currency of decadence and bodily pleasures. Oscar is in rigor mortis,,.