About fifteen years ago, a group of British playwrights, disheartened by what they saw as a lack of ambition and scale in new plays, started a movement they dubbed ‘monsterism’. Their manifesto called for large-scale work with big casts and ideas in contrast with the two- and four-handed studio theatre plays proliferating in an atmosphere of economic and intellectual austerity. Watching Hibernation, Finegan Kruckemeyer’s new play for State Theatre Company South Australia, I was reminded of the monsterists and their still-relevant demands for a bigger, bolder theatre.