Trans. Penny Hueston; Text Publishing; $24.99
By Helen Elliott
Sydney Opera House (touring Canberra, Brisbane, Melbourne)
By Fiona McGregor
Reko Rennie, ‘OA_RR’ (detail), 2017
‘Defying Empire: 3rd National Indigenous Art Triennial’ at Canberra’s National Gallery of Australia
By Sebastian Smee
Image of The Rabble’s ‘Special’
La Mama, one of Australia’s most influential theatre companies, turns 50
By Alison Croggon
David Lowery’s ‘A Ghost Story’ successfully combines sorrow, absurdity and the supernatural
By Luke Davies
Image of Jen Cloher
Jen Cloher’s self-titled album is a unique take on the trials of a touring musician
By Anwen Crawford
Life Is Strange
Is the new diversity in video-game characterisation liberating or appropriating?
By John Bailey
Don Winslow’s latest novel transcends the New York cop story clichés
By Elle Hardy
Vale Simon Holmes and Dr G Yunupingu
By Anwen Crawford
Susie Dee and Patricia Cornelius deliver the wake-up call Australian theatre needs
By Fiona McGregor
The anthology series’ self-aware absurdity makes it the perfect show for our times
By Elle Hardy
Cover of On the Java Ridge
Jock Serong’s ‘On the Java Ridge’ shows us a world our politicians would prefer we didn’t see
By Elle Hardy
Writing into the Marvel canon from the outside
By Roxane Gay
Art Gallery of NSW celebrates the work of iconic Indigenous photographer Mervyn Bishop
By Stephanie Bishop
Does the playful transgression of Caryl Churchill’s ‘Cloud Nine’ still have the capacity to shock?
By Harry Windsor
‘Lady Macbeth’ is a cold and confronting take on the period drama
By Harry Windsor
‘The Handmaid’s Tale’ is a modern lesson in repression but ignores wider, more complex issues
By Elle Hardy
State Theatre Company South Australia updates Henrik Ibsen’s ‘A Doll’s House’ for contemporary Australia
By Jane Howard


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