Five Short Blasts is a rich invitation into the complex world of Fremantle’s Swan River, says Alison Croggon
perth festival
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‘For the space of an hour, a magical space, it was a reminder of possibility’: Alison Croggon on The British Paraorchestra’s The Nature of Why
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The Last Great Hunt’s first main stage show demonstrates that they deserve to be there. Alison Croggon on Lé Nør
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‘The whole production looks like an attack on heteronormative patriarchy, dressed up as a surreal and charming fairytale’: Alison Croggon on Barrie Kosky and 1927’s The Magic Flute
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A stale retelling: Alison Croggon on Lost & Found’s Perth Festival opera, Ned Kelly
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‘Kwongkan squanders its moments of power by reaching for a simplistic idea of protest’: Alison Croggon on a Perth Festival work that attempts to take on the enormity of climate change
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This is Lepage at his best, opening epic dimensions within intimate, domestic moments. Alison Croggon on The Far Side of the Moon and Polyglot Theatre’s playful Cerita Anak
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Nassim has the apparently artless simplicity that emerges only from endless artfulness. It begins with nobody knowing anything: even the actor has never seen the script before.
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Alison Croggon ponders the contrasts between Barber Shop Chronicles and Farewell to Paper and decides that an unexamined masculinity is not worth performing
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Perth Festival Diary #1: Alison Croggon looks at Hand Stories and dreams about Siren Song