Antony Hamilton’s Token Armies is ambitious and challenging, but it ultimately leaves Georgia Mill wanting more
Experimental performance
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‘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
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“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
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Back to Back Theatre’s The Shadow Whose Prey the Hunter Becomes is thick with what is left unsaid, says Jane Howard
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‘Everything about The Bloom Shed reminds me of the “good” old days of the Indy Theatre Boom of the 2000s’: Robert Reid on The Market is a Wind-up Toy
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An immersive work that tackles our inaction on the climate crisis, What Am I Supposed To Do (WAISTD) is inventive but politically underwhelming, says Robert Reid
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A razor-sharp parody of Australian hypocrisy, with dangerously empty moments: Robert Reid on the Batmania bus tour at Melbourne Fringe
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Monique Grbec reviews Deer Woman, a powerful crime drama drawing from the murders of Canadian First Nations women
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Monique Grbec on Jacob Boehme’s brave, funny and beautiful multidisciplinary work, Blood on the Dance Floor
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Most people understand improvisational jazz, but improvisational theatre? Emilie Collyer on Born in a Taxi’s No former performer has performed this performance before