Disarming but troubling, Alison Croggon says Belarus Free Theatre’s Generation Jeans plays on a binary that feels outdated.
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Australian main stages are finally catching up with multiracial casting. It’s about time. Alison Croggon on the MTC’s An Ideal Husband and Bell Shakespeare’s Julius Caesar.
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Alison Croggon contemplates the aesthetics of annihilation in Declan Greene’s adaptation of Lars von Trier’s Melancholia
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This production insists, gently but powerfully, on the human contact at the heart of performance.” Alison Croggon on Taha, Amer Hlehel’s tribute to the great Palestinian poet Taha Muhammad Ali
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Alison Croggon finds that Mish Grigor’s The Talk raises confronting questions about consent
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If the Australian media understood theatre instead of dissing it, we might have a better chance of seeing our politics clearly. Alison Croggon explains why.
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Alison Croggon reviews Justin Shoulder’s visionary spectacle of the post-human, Carrion.
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“Gloria is television theatre, for a television generation.” Alison Croggon reviews Gloria, Branden Jacobs-Jenkins’ play at the Melbourne Theatre Company
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“It made me feel that I was watching some fin de siècle performance, possibly in 1890s Paris.” Alison Croggon reviews Little Ones Theatre’s The Nightingale and the Rose.
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Alison Croggon teases out some thoughts on Patricia Cornelius’ remarkable adaptation of The House of Bernarda Alba at the Melbourne Theatre Company.