A show that propagates questions: Alison Croggon on Nicola Gunn’s Working with Children
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‘Riveting, real and unreal, like a nightmare’: Alison Croggon on Anne-Louise Sarks’ crystalline production of Sarah Kane’s Blasted
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‘The emptiest experience I’ve had in a theatre this year’: Alison Croggon on Lucas Hnath’s A Doll’s House Part 2.
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Alison Croggon on dance: Jo Lloyd’s Overture and Alison Currie’s Concrete Impermanence
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Disarming but troubling, Alison Croggon says Belarus Free Theatre’s Generation Jeans plays on a binary that feels outdated.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.