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Critics Republic commissions professional and amateur reviewers to write about shows in Malaysia. We allow all our writers to contribute anonymously if they wish, to empower them to be frank and honest with their opinions.
Still a Culture of Compromise: The Uncanny Relevance of “Gold Rain and Hailstones”
April 9 20190Bilqis Hijjas26 years after its premiere, this classic work by Jit Murad continues to offer us a view of Malaysia as a place of compromise, humour, warmth and lived hybridity, as Carmen Nge writes....
Who Does What, in Traditional Dance? A Review of ‘Gubahan Tari Tradisi’
March 8 20192Bilqis HijjasOn International Women's Day, CR editor Bilqis Hijjas turns a gender lens on ASWARA Faculty of Dance's new visions of traditional dance. How far can dance update our ideas of what men and women can do?...
The Politics of ‘Tiga Dalam Kepompong’
December 11 20170Bilqis HijjasAndy Darrel Gomes examines the political expressions of 'Tiga Dalam Kepompong', tracing the current local landscape around mental health issues, complacent use of technology, and ethnicity and identity....
Fishing for Subtlety, Catching the Crowd: A Review of ‘Swordfish + Concubine’
November 16 20170AnonymousDespite strong performances and the inspired use of Rhythm in Bronze, the dependence on cheap gags in 'Swordfish+Concubine' undermined its effect, writes Critics Republic reviewer Grey Yeoh....
The Ark of Humanity: A Review of ‘2020: Futurists’ Diaries’
October 18 20170Bilqis HijjasCritics Republic editor Bilqis Hijjas examines the future imagined by artists, scientists and other non-trained performers, in this interdisciplinary show seeking to shed light on humanity's directions....
For more reviews, check out the work of The 2020s, a group of young Malaysians in their 20s starting their arts critic journey.