Most people understand improvisational jazz, but improvisational theatre? Emilie Collyer on Born in a Taxi’s No former performer has performed this performance before
Experimental performance
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‘We don’t often see this kind of Artaudian excess on our stages: it’s one of the signs of how conservative our theatre culture has become’: Alison Croggon on Mitch Jones’ Autocannibal
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According to youth critic Gully Thompson, Whoosh! – a show designed for children with autism or complex disabilities – is a total knockout
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How do white artists use refugees to make art? Return to Escape from Woomera prompts Robert Reid to ponder well-meaning political art in the Age of Morrison
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‘The wit of the performances, both physical and verbal, is riveting’: Alison Croggon on The Temple at Malthouse Theatre
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A participatory play about climate change, Whale is desperately sad, says Robert Reid
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Force Majeure’s You Animal, You is full of dramaturgical silences that tear holes in the text, says Robert Reid
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Andrew Fuhrmann on the intense minimalism of Myriam Gourfink and Hellen Sky’s Quake
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Monumental and mythic: Philipa Rothfield on Jill Orr’s Dark Night
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Exploring the similarities and differences between percussion and dance: Alison Croggon on Recital