The Picture of Dorian Gray is spectacular, yet somehow never succumbs to the seductions of spectacle, says Alison Croggon
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In the third Witness essay for BLEED 2020, Alison Croggon explores the ongoing evolution of virtual worlds
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‘It’s almost like theatre’: Alison Croggon reviews Malthouse Theatre’s The Lockdown Monologues and Uninvited Guests’ Love Letters Straight from the Heart
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Alison Croggon thinks it’s time we faced up to the fact that everything is going according to plan
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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