Maia von Malaisé looks back on Ella Scott’s debut stand-up show, which explores the ‘inner critic’ with an impressive blend of sincerity and playfulness.

Raphael Morter delves into the final release from a timeless band and why its success matters.

Tirza Sey discusses the powerful healing role RAYE’S music has played in her life.

‘This film feels at once like a hug, a punch in the face and an awkward first kiss’: Olivia O’Neill on Bottoms and the power of queer stories.

Mark Holland reviews the recent production of Cleansed at the Fitzpatrick Hall which delivers on a powerful and visually striking vision for the play.

Hari Collins looks back on the subtle drama and romance of Long Apprenticehood.

Nina de Jong reviews The Fletcher Players’ Society’s thrilling performance of The Lighthouse.

A funny yet edifying exploration of black femininity mixed with the nostalgia of a traditional afro-hair salon, all tackled in this student-written play.

Olivia Little discusses AI’s foray into fashion and muses over why it fills her with immense dread.

Joe Hisaishi’s scores are brought to life in this magical evening of music in honour of Studio Ghibli.

What if physical wounds were dismissed in the same way as mental wounds often are? It’s a well-worn adage, but Shaira Berg’s powerful script confronts the truth of the analogy head on.

Drop whatever you’re doing and run to the ADC for Dragtime! Presents: Gunpowder, Treason, and Thot–its rainbow lights and fiery performers are waiting for you!

5/11 probes into questions of identity and the morality of rebellion through the lens of early modern religious conflict and punk subculture. At moments it falters due to an overcrowded stage and technical errors but ultimately the desire for freedom of the Gunpowder Plot conspirators still resonates.

Toby Collins’ ‘Love Corporation’ is the 2023 CUADC Playwriting Competition winner. This production is well-paced and its precise and powerful technical and directorial choices shine, carrying it in moments where the script lacks.

Jacinta Ngeh’s new play is a thoughtful and detailed subversion of the medical ethics drama.

The very first English-language production of Lagarce’s complex and difficult play is an excellent and unique production that gets as much as possible out of the text.