Isabella Whawai Waru’s Where We Stand raises urgent questions about the structures that inform Indigenous artmaking, says Jacob Boehme
Experimental performance
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Kate Hunter’s theatre poem Earshot – remounted last week for the Due West Arts Festival – is a darkly pleasurable delight, says Alison Croggon
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The Rabble’s triptych Unwoman is a scorching interrogation of how the reproductive body is controlled and policed. And, says Alison Croggon, it’s extraordinary theatre
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A Normal Child evokes the ‘awkwardness, contradiction and messy humanity’ of the question of representation, says Robert Reid
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Antony Hamilton’s Token Armies is ambitious and challenging, but it ultimately leaves Georgia Mill wanting more
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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