Alison Croggon reviews Kings of War: “The teeming detail that enlivens Shakespeare’s work – the quality Harold Pinter called “the peopled wound” – is vitamised into a turgid froth.”
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How do you speak to children about atrocity? Alison Croggon reviews Us/Them at the Adelaide Festival
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Alison Croggon reviews the Keir Choreographic Award: A Caltex Spectrum, Personal Effigies and Post Reality Vision
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This is Lepage at his best, opening epic dimensions within intimate, domestic moments. Alison Croggon on The Far Side of the Moon and Polyglot Theatre’s playful Cerita Anak
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Nassim has the apparently artless simplicity that emerges only from endless artfulness. It begins with nobody knowing anything: even the actor has never seen the script before.
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Alison Croggon ponders the contrasts between Barber Shop Chronicles and Farewell to Paper and decides that an unexamined masculinity is not worth performing
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Perth Festival Diary #1: Alison Croggon looks at Hand Stories and dreams about Siren Song
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Welcome to Witness, a new home for discussion of Australian performance. Have a look around – we’re celebrating our first month with free access to all our editorial.
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Alison Croggon looks at sexual harassment in the performing arts. Australia, we have a problem.
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‘Think of all the great art!’ Let’s not. Alison Croggon ponders art in dark times.