Simon Stephens’ Heisenberg is faux theatre for a poverty-stricken time, says Alison Croggon
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Alison Croggon on the anguished eroticism of Daddy, Joel Bray’s latest powerful work on the cultural theft of colonialism
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‘The wit of the performances, both physical and verbal, is riveting’: Alison Croggon on The Temple at Malthouse Theatre
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‘A galvanising moment’: a conference last month on contemporary opera saw the frustrations of women creators boil over. Alison Croggon reports
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The exhilarating Victorian College of the Arts production of Fucking A was a rare chance to see one of the US’s most significant playwrights, says Alison Croggon
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Exploring the similarities and differences between percussion and dance: Alison Croggon on Recital
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‘A profoundly elegant collaboration’: Alison Croggon on Kristina Chan’s meditation on climate change, A Faint Existence
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‘We all vanish, but the traces of our passing – ephemeral, glittering – remain in our wake’: Alison Croggon on Stephanie Lake’s Skeleton Tree
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‘This most recent work from Marrugeku cements its place as one of Australia’s most exciting dance companies’: Alison Croggon on Le Dernier Appel/The Last Cry
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Alison Croggon on watching two extraordinary bodies in Narelle Benjamin and Paul White’s Cella