Alison Croggon

Joel Coen’s The Tragedy of Macbeth highlights how easily human beings can be lured into catastrophic delusion.

Moulin Rouge reinvents the jukebox musical with a mix of sentimentality and grit that eluded Baz Luhrmann’s film.

The MTC’s production of  As You Like It is burdened by heavy direction and a preponderance of song.

Isklander is an interactive online thriller that puts the audience at the centre of its plot.

Florian Zeller’s farce The Truth is let down by a Melbourne Theatre Company production that stumbles behind its supple text.

A remount of Back to Back Theatre’s Food Court, one of the few shows seen before Rising was shuttered, is a masterpiece of violence and poignancy.

Despite a snap lockdown, Melbourne’s newest festival, Rising, marks a revolution in how an arts festival can be conceived and how it can serve a city.

The real star of Because the Night – the immersive theatre show that has taken over Melbourne’s Malthouse – is the production’s mega-installation set.

MTC’s Sexual Misconduct of the Middle Classes may look familiar on the surface, but this intelligent play contains a devastating portrayal of erasure.

A foundering relationship between the author and her sister prompts a painful reflection on upbringing, British colonialism and the patriarchy, and examines how their entrenched structures can become the ties that divide.

From turgid opera to contemporary dance in bowling alleys, this year’s Adelaide Festival runs the gamut from dull to delightful.

The problems that plague Australian arts and culture long predate 2020, but this year's crises have thrown them into vivid relief.

Ben Wheatley’s new adaptation of Rebecca opts for safe nostalgia over du Maurier’s conflicted subtext.

Covid-19 containment measures have led to unprecedented shutdowns in the arts sector, with small companies and independent artists in the greatest jeopardy.

Despite some shaky moments, Benjamin Law’s Torch the Place is filled with humour and heart, and breathes new life into the Australian tradition of naturalism.

Though it never quite coheres, The Feather in the Web takes some sharp digs at contemporary society and is bolstered by an excellent cast.

While Australian artists face challenging times, brilliant work is still being staged.

Both riotously funny and achingly true, Apocalypse Meow: Crisis Is Born confirms Meow Meow as one of the world’s finest cabaret artists.

Although it has moments of genuine power that convey the inhumane conditions faced by asylum seekers, The Audition never quite coheres.

Acerbic and powerful, The Shadow Whose Prey the Hunter Becomes exposes the exploitation of people with disability, and continues Back to Back Theatre’s tradition of making groundbreaking work.

Relying on more than sleight of hand and psychological manipulation, mentalist Scott Silven elicits wonder and delight from his audiences by connecting them through his performances.

One of three plays by Anchuli Felicia King to feature on Australian stages this year, Golden Shield engages intelligently with the digital world and shows great heart. It’s a triumph.

Although Stanisław Lem’s classic novel Solaris provides rich source material for a stage adaptation, there’s a disappointing banality to Malthouse Theatre’s production.

Although Melbourne Theatre Company’s Storm Boy is lushly produced, Colin Thiele’s story is showing its age – particularly in the face of a global climate emergency.

Love and Shit, an exhilarating double bill by Patricia Cornelius at fortyfivedownstairs, expose the uncomfortable realities of Australia’s underclass. In doing so, these plays remind us how vital theatre can be.

Despite a bizarre narrative that at times seems nonsensical, the first Australian production of David Bowie’s musical, Lazarus, is gloriously camp. And of course, there’s no denying the power of Bowie’s songs.

With an energetic cast and Peter Evans’ strong direction, Bell Shakespeare’s production of The Miser proves that Molière’s satire is still right on the money.