Melbourne Festival

Youth critic Gully Thompson is both enraptured and frustrated by Unicorn Theatre’s The End of Eddy

Antony Hamilton’s Token Armies is ambitious and challenging, but it ultimately leaves Georgia Mill wanting more

‘If you’ve ever overcome the acid of social stigma, the euphoria of these artists speaks for you’: Monique Grbec on Gender Euphoria at the Melbourne Festival

“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

Back to Back Theatre’s The Shadow Whose Prey the Hunter Becomes is thick with what is left unsaid, says Jane Howard

‘It feels as urgent as his work ever has, but the complexities have deepened profoundly. Unmissable.” Alison Croggon on Hofesh Schechter’s Grand Finale at the Melbourne Festival

‘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

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