political theatre

Despite stellar artists, The Audition at La Mama thins out and ultimately goes nowhere, says Robert Reid

‘The level of the audience’s participation in the show, whether it was screams, cheers, boos or bear growls, was something to behold’: youth critic Gully Thompson on Black Honey’s One the Bear

World Problems opens up the political consequences of how we view our personal worlds, says Carissa Lee

‘Every Australian should know what the government’s bureaucratic language both conceals and reveals. We should know it intimately, in our skin, in our dreams.’ Alison Croggon on Verbatim Theatre Group’s Manus

‘A deeply interesting investigation of how the historical perversity of slavery deforms human relationships up to the present day’: Alison Croggon reviews Underground Railway Game at the Malthouse 

Funny, angry, anarchic and moving: Alison Croggon reviews Old Stock: A Refugee Love Story

Vox Motus’ Flight is a powerful artwork about child asylum seekers that drives home global realities, says young critic Gully Thompson

‘How can we fight our colonisers, if we discriminate and exclude as they do?’ First Nations Emerging Critic Carissa Lee on The Fall: All Rhodes Lead to Decolonisation

Disarming but troubling, Alison Croggon says Belarus Free Theatre’s Generation Jeans plays on a binary that feels outdated.

“Think it can’t happen again? It’s already happening.” Robert Reid on two unsettlingly timely productions – Robyn Archer’s Dancing on the Volcano and Michael Gurr’s Crazy Brave