ADELAIDE Theatre: Architektin, written by Weimer maven Robyn Archer, is the story of German architect- designer Margarete Schutte Lihotsky, who began work in the 1920s. Director Adam Cook has gathered a strong team for this handsome production, with Ksenja Logos vivacious and assured as the young Margarete, and Helen Morse reflective and sardonic as the older Margarete. They carry the play when its narrative weight is heavy, critic Murray Bramwell writes. Dunstan Playhouse, Adelaide Festival Centre, until September 20. Bookings: 131 246.
BRISBANE Theatre: Peter Houghton’s satire The Pitch has had successful seasons in London and Edinburgh and is touring nationally. Walter Weinerman, an aspiring Australian screenwriter in Hollywood, practises pitching his film concept to an industry panel. Panicstricken and desperate, Walter demonstrates the roles that he hopes will be played by A- listers including Clint Eastwood and Catherine Zeta- Jones. Brisbane Powerhouse, September 16- 20. Bookings: ( 07) 3358 8600.
MELBOURNE Theatre: In Joanna Murray- Smith’s new work Ninety , Isobel ( Melinda Butel) begs 90 minutes from her former husband William ( Kim Gyngell) before he flies off to Paris to marry again. During that time they relive the highs and bitter lows of their relationship. Is this an affirmation of marriage or an unrelievedly bleak portrayal of a contemporary relationship? Director Simon Phillips gives an elegant production in the round, with strong performances from both actors, critic Alison Croggon writes. Arts Centre, until October 4. Bookings: 1300 723 038.
PERTH Visual art: Joel Gailer’s Hot Process, a printed page in the magazine Art Almanac, is this year’s winning entry at the Fremantle Print Award. Gailer’s work is the antithesis of the technically perfect limited- edition print. The artist challenges all the assumptions about ownership, copyright, exclusivity and technical expertise. An audacious choice by the judges, it will undoubtedly raise the ire of many practitioners, critic Ted Snell writes. Fremantle Arts Centre, until October 5. Inquiries: ( 08) 9432 9555.
SYDNEY Visual art: Games of Consequence is an exhibition from Melbourne- based photographer Polixeni Papapetrou, recalling the spontaneity and freedom of her childhood. She feels children have had their liberty and exposure to the world diminished, perhaps by the lure of television and parental anxiety about safety. Papapetrou introduces what she calls the wonderfully heterogenous dimensions of childhood, where fear and danger mix with the angelic. Stills Gallery, until September 27. Inquiries: ( 02) 9331 7775.
Childhood lost: Dreams are Like Water ( 2008) by Polixeni Papapetrou