‘The whole production looks like an attack on heteronormative patriarchy, dressed up as a surreal and charming fairytale’: Alison Croggon on Barrie Kosky and 1927’s The Magic Flute
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A stale retelling: Alison Croggon on Lost & Found’s Perth Festival opera, Ned Kelly
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‘Kwongkan squanders its moments of power by reaching for a simplistic idea of protest’: Alison Croggon on a Perth Festival work that attempts to take on the enormity of climate change
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‘There’s a very British heartlessness lurking in the centre of this play that the over-produced staging inadvertently exposes’: Alison Croggon on The Lady in the Van at the Melbourne Theatre Company
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As Next Wave opens its callout for artist submissions to the 2020 festival, Alison Croggon speaks to festival director Roslyn Helper about power, art and hope
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‘A deeply interesting investigation of how the historical perversity of slavery deforms human relationships up to the present day’: Alison Croggon reviews Underground Railway Game at the Malthouse
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Funny, angry, anarchic and moving: Alison Croggon reviews Old Stock: A Refugee Love Story
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‘Being part of that audience was electrifying’: Alison Croggon on Mama Alto and Maude Davey’s Gender Euphoria
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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