Keith Gallasch: STC: Shaw’s St Joan, Savage’s high tragedy

Keith Gallasch

Editorial 8 June 2018

Farewell Tom E Lewis, 1958-2018

Theatre Kantanka’s Obscene Madame D: a world within

Keith Gallasch

Unwrapped: new life for independents at the Opera House

Keith Gallasch

Jon Rose, Chris Abrahams and Peggy, a new CD

Keith Gallasch

Readymade Works’ very Happy Hour

Keith Gallasch

Kip Williams’ Arturo Ui: Democracy’s death dance

Keith Gallasch

Sydney Chamber Opera’s The Howling Girls: Voicing trauma

Keith Gallasch

Editorial 1 May 2018

Thank You

Editorial, 13 December, 2017

MY MY MY: Amala Groom’s Have you seen MY Emily?

Keith Gallasch

Giveaway: Raoul Peck, I Am Not Your Negro DVD

NORPA’s Djurra: Dreaming theatre

Vicki Van Hout

A home for experimentation: new music in Adelaide

Chris Reid    

Editorial 6 December 2017

Interchange Festival: The Start and the End of the Body

Nikki Heywood

Interchange Festival: The Political Body

Cleo Mees

JOLT’s musical myth-making

Elyssia Bugg

THE LOOP: Louise Bourgeois on the inside

The mutable body: Thomas E S Kelly and Fishhook at PACT

Keith Gallasch

Chauka, Please Tell Us the Time: Detention from the inside

Pipilotti Rist at the MCA: Serious fantasist

Gail Priest

Angela Goh, Scum Ballet: Female magic

Keith Gallasch

Editorial 29 November 2017

Report: Hobiennale Arts Festival

Lucy Hawthorne

The Daly River Girl: A life examined

Nicky Fearn

Hobiennale Arts Festival 2017

Unsound Adelaide: Local-global soundings

Chris Reid

Envisioning the subjective maternal body

Jasmine Salomon

Aphids’ Artefact: grieving dead tech

Malcolm Whittaker

Muriel’s Wedding, The Musical: Excess, good and bad

Keith Gallasch

GIVEAWAY: These Heathen Dreams, journal of a cultural Bolshevik, Christopher Barnett, DVD

Editorial 22 November 2017

Wired Open Day Festival’s agri-cultural magic

Neill Overton

Totally Huge’s sensory & dramatic pleasures

Jonathan W Marshall

Djurra: Sharing culture; an interview with Kirk Page

Keith Gallasch

FORM’s Common Anomalies: Dancing with difference

Pauline Manley

Jackson Davis: The art of videographic performance

Keith Gallasch

Greg McLean’s Jungle, a sensory journey

Katerina Sakkas

STC’s Three Sisters: seeing double

Keith Gallasch

Editorial 8 November 2017

Liveworks: CARRION: Magnificent mutancy

Cleo Mees

Putting Liveworks to the test

Keith Gallasch

The Warmun Wreck

Jon Rose

Liveworks: Geumhyung Jeong: Actualising fantasies

Nikki Heywood

James Hullick: Sound artists just gotta have fun

Keith Gallasch

Audiovision 28: Post-politics & totalitarian tonality

Philip Brophy

Grace Under Pressure: a call for mutual caring

Keith Gallasch

Giveaway: Una DVD

The Deep Archive: Being Gena Rowlands

Lesley Stern

Editorial 1 November 2017

Liveworks: Can art make oxytocin?

Teik-Kim Pok

Liveworks: LabAnino’s simultaneous Filipino realities

Teik-Kim Pok

Liveworks: Tetsuya Umeda, Eisa Jocson: Process & experiment

Keith Gallasch

Liveworks: Mark Harvey: Risky chat

Teik-Kim Pok

Experimenta: Make Sense: Disorientation & distance

Elyssia Bugg

Liveworks: AEON, a desiring flock

Cleo Mees

CCME: Lawrence English: Visceral listening

Keith Gallasch

Australian Theatre Forum 2017: Tough times, cautious hopes

Ben Brooker

Angelique’s mirror-world choices

Ben Brooker

Editorial 25 October 2017

Proximity Festival 2017: One-on-one adventures

Nerida Dickinson

CCME: ELISION & Kupka’s Piano: Electric guitar takes lead

Keith Gallasch

Liveworks’ ghosts of performance past

Keith Gallasch

Route Dash Niner: Part II: Homemade space travel

Nikki Heywood

BIFEM 2017: Resolute adventurers

Matthew Lorenzon

Speakeasy: A question of independence

Andrew Fuhrmann

Echo — sounding for empathy

Beth Jackson

Editorial 18 October 2017

Experimenta: Make Sense: The art of perceptual play

Lisa Gye

Totally Huge Festival: A time for new music

Keith Gallasch

Soft Centre: a niche utopia

Gail Priest

Open to the land: 2017 Wired Open Day Festival

Keith Gallasch

OzAsia Festival: The cultural deep-end

Ben Brooker

OzAsia: The End: Almost human

Keith Gallasch

OzAsia music: Meeting Points’ radical connections

Chris Reid

OzAsia music: Bold syntheses

Chris Reid

OzAsia Festival: The Dark Inn: Defeating ignorance

Keith Gallasch

Editorial 11 October 2017

OzAsia: W!ld Rice Theatre, Hotel: Close to home

Keith Gallasch

OzAsia Festival: Worlds reconfigured

Ben Brooker

OzAsia: Macau revivified

Chris Reid

Liveworks 2017: Beautiful Disturbance; interview, Jeff Khan

Keith Gallasch

OzAsia: Other, but kindred worlds

Chris Reid

My dinner with birdfoxmonster

Katerina Sakkas

The Silent Eye: Astral vision

Luke Goodsell

Lessons learnt from Deborah Pearson

John Bailey

Ensemble Offspring: Down the rabbit hole

Keith Gallasch

The Second Woman: the female star as agent

Briony Kidd

Editorial 27 September 2017

Sounding the Future: Towards new sound ecologies

Emily Stewart

Laika: Into space by radio

Jonathan W Marshall

OzAsia Festival: SA the Collective – Music in & beyond the diaspora

Chris Reid

Interview, Frances Barbe: The university as performance incubator

Keith Gallasch

The performance makers: Jessica Russell, Phoebe Sullivan

Keith Gallasch

Alvin’s Harmonious World of Opposites: Interior revelations

Keva York

Interview: Jo Bannon, never a ghost

Osunwunmi

Junction Arts Festival: Illuminating a town with art

Lauren Carroll Harris