Sydney's Old Fitzroy and its theater is a cultural touchstone that uniquely connects generations in a city slavishly obsessed with the latest fashion. A bar without posture which holds its history and its popularity. Nightlife without Old Fitzroy couldn't be a more bland proposition. With over 100 years of history, this family-owned gem is hidden in the lanes of Woolloomooloo, not far from the once seedy lanes of Sydney's Kings Cross. Say no to plagiarism. Get a tailor-made essay on 'Why violent video games should not be banned'?Get the original essay Boasting Australia's only pub theater, the Old Fitz Theater seats 60 people and presents quality performances of independent theater classic and contemporary. Without contracts with large breweries, the bar's sixteen taps are stocked with an excellent range of craft beers, which rotate continually and follow the season. What's not to love?In 2015, Red Line Productions reopened the doors to the legendary Old Fitz Theater, a venue built in 1997 by a group of passionate theater makers. Alumni of the Old Fitz Little 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 and impeccably elegant poet, playwright, and bon vivant Oscar Wilde was at the height of his spiritual existence. One of his masterpieces, The Importance of Being Ernest, had become a West End hit, making him the star of London. However, last summer, he was serving two years in prison for gross indecency. 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 the name “Boisie”. The Marquess, furious at the couple's reckless and, from the point of view of Victorian society, amoral relationship, openly insulted the writer and a trial ensued. Today, the defeated writer struggles with a burden of conscience: flee to France to escape persecution or stay and hold on, even when Boisie's love is fickle and fickle. The Redline incarnation of the production begins with a bang with a young, naked couple. I get into it with enthusiasm. After an unplanned coitus interruptus, we discover that it involves a waiter and a maid enjoying the bed in a hotel room they are supposed to prepare for Mr. Wilde. The author is in the midst of the public disgrace that has ruined his life and career, facing a trial for indecency (id est homosexuality) and the prospect of immediate imprisonment. Still devoted to decadence, Wilde resigns himself to savoring the present moment - drinking wine, sitting down to lunch, arguing and canoodling with his young lover, Bosie, while a crowd gathers outside and his arrest appears 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 adversary in court, while Wilde's former lover and trusted friend Robert Ross pleads for him to escape. in France on the next train. He misses his chance and the second act finds Wilde in exile after two years of imprisonment. He and Bosie are in Naples, where they are short of money but rich in the currency of decadence and pleasures,.