Ellen M. Scott (she/her) is a Narrm-based writer, researcher and critic, and founding editor of Melbourne Stage Review. She approaches criticism as situated practice, attentive to perspective, context and the limits of the critic’s own gaze.
Reviews
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.
Essays
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.
Reviews
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.
Reviews
A deeply moving new Australian play about class, care, social mobility and the lives we make within forces we did not choose.
Reviews
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
In Exhibition: First and Second, Caroline Lee offers a startlingly intimate glimpse of a performance still becoming — its uncertainty and workings laid bare.
Essays
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.
Essays
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?
Reviews
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.