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
Midsumma Festival
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‘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
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Emilie Collyer on The Rise and Fall of St George at Midsumma Festival
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‘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
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‘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
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The artifical dilemma of binaries: Robert Reid on Fifteen Minutes from Anywhere’s return season of Cock
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‘A triumph: remarkable, stunning, heart breaking’: Robert Reid on Silvia Calderoni’s extraordinary MDLSX
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‘There was so much joy in that space’: Blind critic Olivia Muscat attends her first ever dance performance, Dancing Qweens
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‘The warmth in the auditorium was something I’ve only experienced on community nights at blackfella shows”: Carissa Lee on The Butch Monologues
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Robert Reid barely survives a ‘howling maelstrom of transgressive audience behaviour’ in The Miss Behave Gameshow
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