A man and a woman sitting in front of a bright gray background. The two wear a blue long-sleeved shirt and party hats. There's a birthday cake with candles in front of them and decorations around it. The man has a brown beard full of icing from the cake.
A man and a woman hug each other in front of a sparkly background. The two wear brown shirts.
A man and a woman wearing birthday party hats, denim blue shirts and brown pants, standing in front of a sparkly background. They are both taking off their hats.


Theatre and Physical Theatre • New Writing
South Australia • SA Premiere

A party. A fourth birthday party. A truly wonderful and lovely fourth birthday party. The world isn’t ending. We have honey crackles and fairy bread and the world isn’t ending at all.

The creators of the cult-hit Grief Lightning (★★★★★ Stage Whispers, ★★★★★ On The Record, ★★★★1/2 InDaily) invite you to a suburban backyard, wherein a darling little boy is having an outerspace-themed birthday.

Meanwhile, somewhere in Texas, a billionaire charts his next phallic-rocket voyage to Mars. 

A mother crawls through a Mad Max desert in search of life-sustaining supplies.

A father beats the candy out of a crêpe-paper lolly-horse.

With surreal storytelling and a blistering sonic score, SAMUEL is a shimmering, hyper-colour attempt at extinguishing the flames of the apocalypse, one birthday candle at a time.

Presented by: Paper Mouth Theatre

Paper Mouth is a nightmare draped in pink satin. Paper Mouth is an apocalyptic birthday party. Paper Mouth is a cosmic parable of nostalgia. Paper Mouth is a new(ish) theatre company creating work in response to contemporary myths and rituals. Paper Mouth is, for the most part, Mary Angley (she/they), Caitlin Ellen Moore (she/they), and Dan Thorpe (he/him).
Walking a taut line between theatre and live art, Paper Mouth picks, scratches, and gnaws at the canon - with practices spanning acting, sound design, directing, producing, classical piano performance, broadcasting, public health research, poetry, philosophy, and utter chaos.
Their shows have been described as “remarkably sharp-witted” (InDaily), “sublime” (Stage Whispers), “blissful chaos” (On The Record).

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