Critics Republic

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2 weeks ago 26th March 2020Bilqis Hijjas

A Very Malaysian Mob: A Review of ‘In Transit’

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7th February 20207th February 2020Anonymous

Masculinity and Beyond: A Review of ‘Woman on Man on Men’

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17th January 202022nd January 2020Leng Poh Gee

Umpama Rebung Melentur: Ulasan Kejuaraan Tari Kanak-kanak Malaysia

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3rd December 20199th December 2019Ticket Tiger

Yearning for Yasmin, Sepet Stays Faithful

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6th November 20196th November 2019Bilqis Hijjas

Dependable Delight : A Review of the International Ballet Super Stars Gala 2019

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23rd October 201923rd October 2019Anonymous

Making Malaysian Indian Art – A Review of ‘Banana Leaf’

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4th September 201910th September 2019Bilqis Hijjas

The Magic Mountain: A Review of the INXO International Residency Program

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12th August 201912th August 2019Bilqis Hijjas

Conscious Couplings for a Career: A Review of Kenny Shim’s ‘Mix Bill’

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5th August 20195th August 2019Ticket Tiger

Sleepless in Suburbia: A Review of ‘Next to Normal’

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1st August 20191st August 2019Bilqis Hijjas

Let’s Just Watch Them Dance: A Review of the 4th Selangor & KL Schools Dance Exchange

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18th June 20191st August 2019Ticket Tiger

Plays Within a Better Play: A Review of ‘The Tragicomedy of Errors’

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13th May 20191st August 2019Leng Poh Gee

Keinsafan, Perjuangan, dan Kesyukuran: Ciptaan Tari Kontemporari di PenTAS 2019, UPSI

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18th April 201919th April 2019Bilqis Hijjas

Keep the Stones Acoming! A 2020’s Review of ‘Gold Rain & Hailstones’

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18th April 201918th April 2019Bilqis Hijjas

理想的年代，理想主义还在吗？A review of Dancebox Festival Program A

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9th April 201931st July 2019Carmen Nge

Still a Culture of Compromise: The Uncanny Relevance of “Gold Rain and Hailstones”