Malthouse Theatre’s Because the Night is impressive in many ways, but it’s only a first step in realising what immersive theatre can be, says Robert Reid
Experimental performance
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Branch Nebula’s High Performance Packing Tape pushes cheap material – and Robert Reid’s patience – to the limits
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A dynamic look at the work of 10 emerging artists, Let’s Take Over 2021 at Darebin Arts leaves an enlivening sense of possibility, says Monique Grbec
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An experiment that doesn’t quite deliver, We’re Probably Really Really Happy Right Now at Theatre Works is nevertheless a deeply interesting work of queer performance, says Gully Thompson
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Emilie Collyer finds her way back to the magic of theatre through four Melbourne Fringe shows
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A new digital take on Wonderland, Alice² picks up how Lewis Carroll used popular games as narrative structures, says Monique Grbec
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The Agency of Coney’s Telephone is a playful invitation into a communal online space, says Robert Reid
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The Powerpoint adventures of a red square invite Robert Reid into a bizarre alternative world
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Holesp@ce, from multi-disciplinary collective STRANGEkit. is a surreal tour through our hyperconnected present, says Robert Reid
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Clockfire Theatre Company’s film adaptation of its physical theatre work we, the lost company sets a high bar, says Caitlin Doyle-Markwick