After more than a decade apart, comedy due Lano and Woodley have lost none of their charm, says Robert Reid
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Malthouse Theatre’s Because the Night is impressive in many ways, but it’s only a first step in realising what immersive theatre can be, says Robert Reid
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Insider jokes on classic horror tropes and vaudeville clowning make Innes Lloyd’s latest show a fun ride, says Robert Reid
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Elbow Room’s joyous production of Enlightenment shows the strengths of Melbourne’s indie theatre scene, says Robert Reid
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An irresistible musical with a dark heart, Fangirls summons the chaos of adolescence, says Robert Reid
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Branch Nebula’s High Performance Packing Tape pushes cheap material – and Robert Reid’s patience – to the limits
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In A German Life, Robyn Nevin gives a masterly performance of complicity as she recounts the life of Goebbels’ stenographer, says Robert Reid
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In his production of Medea, Simon Stone bring his contemporary approach to classic Greek tragedy, and strips it of much of its power, says Robert Reid
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Coming out of last year’s pandemic, two clowning shows – The Anniversary and Jofus and the Whale – show very different aspects of the art, says Robert Reid
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Michele Lee’s Broth Bitch uses a podcast format to follow the life of “vegan soup goddess”, says Robert Reid