The making of the pack: Savages
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.
Smile, we are watching you: Cold War 2.0
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.
No safe distance: The Jungle and the Sea
An epic story of war, displacement and moral choice becomes achingly intimate in S. Shakthidharan and Eamon Flack’s exceptionally powerful production.
The choreography of attention: Chunky Move’s Time Remaining
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.
Circles in the water: A credo for theatre criticism
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.
Some home truths are hard to swallow: Cut Chilli
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.
Break of Day: Dignity without innocence
A deeply moving new Australian play about class, care, social mobility and the lives we make within forces we did not choose.
The clown gag inside the horror: Marginalia
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.
Notes from an unfinished exhibition
In Exhibition: First and Second, Caroline Lee offers a startlingly intimate glimpse of a performance still becoming — its uncertainty and workings laid bare.
Funeral Flowers: Still growing
Emotionally devastating, psychologically astute and quietly transformative, Funeral Flowers is a remarkable Australian premiere. Lucy Ansell's extraordinary solo performance brings Emma Dennis-Edwards' compassionate meditation on care, resilience and hope vividly to life.
Losing Face and the trouble with ageing well
Marieke Hardy’s Losing Face turns the contemporary project of “ageing well” into grotesque farce. But as the bodies become stranger and the jokes keep coming, a more uncomfortable question emerges: what exactly are we laughing at?
Masterpieces of the Oral and Intangible Heritage of Humanity: What might we become
In a world of extraordinary brutality and beauty, Heather McDonald’s Masterpieces asks what human beings preserve, what they destroy, and what they might yet become.