Caroline Guiela Nguyen’s Saigon is remarkably beautiful theatre that reminds us what a main stage play can be, says Alison Croggon
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‘MÁM is a celebration of ordinary moments, which are as mysterious and ambiguous as the supernatural spirits that haunt and weave through them’: Alison Croggon on Teaċ Damsa’s exhilarating dance theatre
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‘Difficult truths wrought into profound, unsettling harmonies’: Alison Croggon explores the sorrow and light in Kamila Andini’s remarkable dance theatre work The Seen and Unseen at AsiaTOPA
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‘It’s interesting how lines that once simply slipped by register with spikes now’: Alison Croggon on the return of Ridiculusmus’ two-person The Importance of Being Earnest
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‘I couldn’t imagine why anyone would take this absurd set-up as anything but the occasion for some kind of vicious Orton-esque farce’: Alison Croggon on the MTC’s Home I’m Darling
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Kate Hunter’s theatre poem Earshot – remounted last week for the Due West Arts Festival – is a darkly pleasurable delight, says Alison Croggon
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The Rabble’s triptych Unwoman is a scorching interrogation of how the reproductive body is controlled and policed. And, says Alison Croggon, it’s extraordinary theatre
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The Melbourne Theatre Company’s Photograph 51 dramatises the inexorable diminishment of a brilliant woman, says Alison Croggon
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“It makes sense to take a theatrically experimental approach to this work; what baffled me was the falsity that hollows out its artifice.’ Alison Croggon on The Nico Project
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‘It’s a different beast altogether than Who’s Afraid of the Working Class, and not only because all the writers are older’: Alison Croggon on Anthem