Exceptional physical comedy opens into a spiritual reckoning in Holy Fool — a wildly funny, profoundly moving and utterly sublime piece of theatre, exquisitely directed by Giovanni Fusetti and performed by Fabio Motta with breathtaking skill, generosity and soul.
A beautifully nuanced and superbly realised new Australian play, The Memory Mirror reveals its layers with exquisite control. Georgina Luck’s writing, Drew Tingwell’s direction and a stellar ensemble create theatre that is at once playful, mysterious and profoundly affecting.
In How to Eat Rabbit, two friends burrow away at the end of the world, rationing power, sorting tins, craving chocolate and trying to keep each other alive. Between tenderness, betrayal and a two-headed rabbit, survival is one problem. What makes survival worthwhile is another.
Moving from lockdown balconies to sibling rivalry, boardroom manoeuvring and an impossible bargain, Edge of the Heart Productions’ four-play collection finds humour, tension and simmering unease in the textures of ordinary lives.
Uncanny, playful and increasingly menacing, Kitan Petkovski’s masterful production of Patricia Cornelius’s Savages watches camaraderie slowly curdle into the ugliest form of male entitlement.
Punk, politics, surveillance and pop culture collide in Cold War 2.0, a theatrical barrage where meaning is both made and lost in the noise.
An epic story of war, displacement and moral choice becomes achingly intimate in S. Shakthidharan and Eamon Flack’s exceptionally powerful production.
Hamilton’s Time Remaining is an exhilaratingly intelligent work: visually assured, formally adventurous, and alive to the peculiar contemporary anxiety of being engulfed by the technological systems of our own making.
What do I owe myself when I go to the theatre? An essay about attention, expertise, repetition, astonishment, and the kind of critic I hope to become and to remain.
Wickedly witty, deeply complicated and remarkably tender, Cut Chilli finds comedy, anguish and profound intimacy in the messy politics of family, intercountry adoption and what it means to belong.
A deeply moving new Australian play about class, care, social mobility and the lives we make within forces we did not choose.
Funny, disturbing and increasingly unhinged, Pummel Squad’s Marginalia uses grotesque clowning and poor theatre to expose a world warped by power, precarity and need.