“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
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Alison Croggon on Branch Nebula’s High Performance Packing Tape and Yang Liping’s Rite of Spring in the opening week of the Melbourne Festival
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Emina Ashman’s debut play Make Me A Houri is a compelling and often hilarious picture of female desire in patriarchal society, says Alison Croggon
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‘This production is certainly well-intentioned, but it’s let down by its larger architecture’: Alison Croggon on Bell Shakespeare’s Much Ado About Nothing
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‘We don’t often see this kind of Artaudian excess on our stages: it’s one of the signs of how conservative our theatre culture has become’: Alison Croggon on Mitch Jones’ Autocannibal
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Modern Māori Quartet: Two Worlds is a delightful and profoundly moving opening to Big World, Up Close, says Alison Croggon
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Simon Stephens’ Heisenberg is faux theatre for a poverty-stricken time, says Alison Croggon
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Alison Croggon on the anguished eroticism of Daddy, Joel Bray’s latest powerful work on the cultural theft of colonialism
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‘The wit of the performances, both physical and verbal, is riveting’: Alison Croggon on The Temple at Malthouse Theatre