Polite Society’s Social Diary – August

By far the most avant-garde of Melbourne’s many festivals, Now Or Never is back this month with a full bill of tempting experiences. Several free events, such as Dutch creative Boris Acket’s powerful installation Einder at Melbourne Town Hall, explore big issues such as climate and control, while MATRIA – which sees the interior of the Exhibition Building festooned with a translucent pink inflatable – hosts everything from dance parties to breathwork. We can’t wait. Now or Never, August 21-31, various venues 

Also in Melbourne this month is the world premiere of Destiny, award-winning South African-born playwright Kirsty Marillier’s sharp family drama. It’s set in the Eastern Cape in January 1976, a year that Marillier describes as a “crunchy” period of apartheid; just five months later, the Soweto Uprising shocked the world and galvanised resistance. Marillier plays Della, 24, who’s working at a general store while trying to keep her younger brother Rocky out of trouble and her dad sober. The arrival of her old flame Ezra (played by the talented Barry Conrad), with his revolutionary ideas, sets them on a dangerous course. As Conrad asked in an interview, “How do you find a new future when the past keeps knocking?” Melbourne Theatre Company, August 18-September 13, Southbank Theatre, The Sumner

We can thank Elton John for many things, including the creation of Australian dance company Burn the Floor ­– original producer Harley Medcalf had the idea after a troupe of athletic ballroom dancers performed at John’s 50^th. Their latest high-energy spectacular includes a provocative rumba and tango, with some incredible set pieces. Critics love it – and the Opera House has added new shows to meet demand. Burn the Floor, Sydney Opera House, Playhouse, August 6-17

Yet another fascinating installation opens at the Museum of Contemporary Art Australia this month: A Conversation with the Sun by celebrated Thai filmmaker and artist Apichatpong Weerasethakul and fellow Bangkok-based collaborators. Featuring fragments of the artists’ video diaries – projected onto a slow-moving length of fabric that drifts through the gallery – the piece explores the nature of perception and memory. Weerasethakul has won the Palme D’Or and the Cannes Jury Prize, so this is well worth a visit. MCA Australia, Sydney, from August 14

Humans have been worshipping stones since pre-history and you’d be forgiven for thinking we’d grown out of it by now. Lee Ufan’s exhibition at AGNSW may convince otherwise. In spaces designed by the artist, Korean-born Ufan combines painting and rock sculptures with a breathtaking simplicity. Who knew that two stones separated by a mirrored path could be so moving? Quiet Resonance, Art Gallery of New South Wales, Sydney, from August 31

Surrealist Man Ray was one of the most influential photographers of the 20^th century, so it’s hardly surprising he piqued the interest of the Australian Max Dupain. After encountering Ray’s work in a book he reviewed, Dupain was inspired to experiment with the latest photographic practices and processes, leading to some truly iconic images. With more than 200 photographs on display, this promises to be a fascinating visual dialogue – which also references the partnership between Man Ray and Lee Miller, the subject of another brilliant retrospective at Heide last year. Man Ray and Max Dupain, Heide Museum of Modern Art, Melbourne, from August 6

Finally, this month sees the revival of Trophy Boys, the award-winning hit show that satirises the entitled-yet-insecure world of Melbourne private boys schools. Performed by a female and non-binary cast in drag, the play takes place at the Grand Finale of the Year 12 Interschool Debating Tournament, where the all-boys team from the elite St Imperium College are ready to triumph over their sister school. That is, until they’re forced to debate an unexpectedly difficult topic… Arts Centre Melbourne, Fairfax Studio, August 12-24