Midsumma Festival

Joel Bray’s Daddy is the latest in a series of formally audacious works that are revolutionising Australian performance. Bryan Andy unpacks its Blak and queer contexts

‘It’s awkward, it’s rough, it’s messy, it’s hit-and-miss; but there are glints of something really great here’: Robert Reid on Po Po Mo Co’s Summer of the Seventeenth Doll at Midsumma

Emilie Collyer on The Rise and Fall of St George at Midsumma 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

‘I find myself not only questioning the value of these tears, but also their cost. Who pays for these tears?’: Robert Reid on the Little Ones Theatre’s Merciless Gods

The artifical dilemma of binaries: Robert Reid on Fifteen Minutes from Anywhere’s return season of Cock

‘A triumph: remarkable, stunning, heart breaking’: Robert Reid on Silvia Calderoni’s extraordinary MDLSX

‘There was so much joy in that space’: Blind critic Olivia Muscat attends her first ever dance performance, Dancing Qweens

‘The warmth in the auditorium was something I’ve only experienced on community nights at blackfella shows”: Carissa Lee on The Butch Monologues

Robert Reid barely survives a ‘howling maelstrom of transgressive audience behaviour’ in The Miss Behave Gameshow