In Steve Rodgers’ new play, now at Malthouse, solid performances are undermined by expository writing.
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Megan Wilding’s Game. Set. Match., now playing at Malthouse, is both a powerful reckoning with colonial violence and a love letter to self.
Around a familiar outdoor table, Black Light at Malthouse Theatre tells an intergenerational story of four First Nations women.
Tom Wright’s new play for Malthouse poses a fundamental question: who can truly own land?
This show is infused with signature Pony Cam high-energy physicality. An extended dance sequence set to Russian dance music showcases their extraordinary prowess.
Malthouse Theatre’s new production of The Birds is thrillingly realised – and holds striking resonance with pandemic lockdowns.
A plane has left Earth because Earth is dying. The journey is an escape for survival, but they are taking Earth-created social inequalities with them.
In an era of heated debate about transparency and fake news, Malthouse Theatre’s Truth is a vital and edgy work from Patricia Cornelius and Susie Dee.
This year, Malthouse Theatre brings audiences a new kind of Christmas variety show: F Christmas is a camp Christmas pageant.
If you’re in need of a queerly spiritual intervention, or more simply looking for a show that will stay with you, I urge you to experience Homo Pentecostus at Malthouse.
The media has a role to play in explaining what Brexit really means to ordinary people, but it’s getting lost in the politics – and time’s running out.
‘Well behaved women seldom make history,’ wrote historian Laurel Thatcher Ulrich, and Revolt. She said. Revolt again. at Melbourne’s Malthouse Theatre takes the idea to its apocalyptic extremes.
Drawing on surveys and group discussions with teenage boys about their use of pornography, Gonzo provides a window into young men’s experiences that’s in equal parts funny, engaging, and confronting.
Regardless of reasoning and the plethora of scholarship that exists, Greek tragedy remains the most modern form of drama. It is unafraid to question everything we value.
Theatre reviewing should be a public judgement pronounced with discernment. So what are we to make of those who do it badly?
Top contributors
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Lecturer, Te Herenga Waka — Victoria University of Wellington
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Senior Lecturer in Theatre, The University of Melbourne
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Senior Lecturer in Art and Performance, Deakin University
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Associate Professor in Criminology, The University of Melbourne
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Professor and Academic Director (Indigenous Research), La Trobe University
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Associate Lecturer in Theatre, The University of Melbourne
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Professor, Cardiff School of Journalism, Media and Culture, Cardiff University
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PhD Candidate in the History Program, La Trobe University; The University of Melbourne
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Researcher, The Australian Centre, The University of Melbourne
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Playwright and theatre researcher, Monash University
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Professor of Creative Arts, Griffith University