Alison Croggon on Ridiculusmus’s extraordinary final show, the maddening and deeply moving Die! Die! Die! Old People Die!
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An oratorio of private pain: Alison Croggon reviews Lab Kelpie’s brilliant production of Mary Anne Butler’s Broken
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‘None of this history is simple, just as nothing about gender is simple’: Alison Croggon on Rachel Perks’ and Bridget Balodis’ queer witches in Moral Panic
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Alison Croggon reviews emerging choreographers Lauren Langlois and Joel Bray in Chunky Move’s Next Move 11
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‘The trial has prompted a deep anger within the theatre community. Its reverberations will echo for a long time’: Alison Croggon looks at the Geoffrey Rush defamation trial and its inevitable connections to #MeToo
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‘Sheer joyousness and delight’: Alison Croggon on the austere brilliance of William Forsythe’s A Quiet Evening of Dance
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‘I know I felt purely happy’: Alison Croggon on the beauty of the participatory dance One Infinity at the Malthouse
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The music of Mark Morris’ Layla and Majnun is unmissable, says Alison Croggon. But she’s not so sure about the dance
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‘Trauma, its aftershocks, its fragmentation, its strange, loud silence.’ Alison Croggon on Rawcus’ Song for a Weary Throat
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In Particle/Wave, a collaboration between artists and scientists, Alison Croggon says that the confounding abstractions of physics are given a human dimension