Fuelled by his reckless bravado and post-punk philosophy, Sal plunges into extreme situations, but his innocent experiments in rebellion lead him increasingly into hazardous realms.

Instead of building a sustained thesis throughout his text, Krueger writes in short bursts about a multiplicity of topics, extending his explorations rhizomatically into the crevices of a new South African society loath to relinquish its stranglehold on the politics of identity.

This in no way distracts from the complexity of the subject matter or the profound insights that the text offers.” “[Experiments in Freedom] has been a pleasure to read...The writing exudes clarity and the arguments are cogently rehearsed...[It] guides the reader on a journey that is concomitantly innovative, challenging and informative...written eloquently and lucidly – it deserves a valuable place in its field [and] should be a compulsory text in South African and international libraries."

He succeeds in being scholarly without resorting to jargon or the kind of stodgy academic writing which one encounters all too frequently.” In collaboration with Pravasan Pillay, the Shaggy stories are ironic comedy monologues generally narrated by wingers, whiners, wimps and wankers.

Reviews "A comedy and social commentary piece that runs like a pair of freshly laddered stockings… once you're in it, there's no going back!...The show is an all-round success in presentation and script.

[5] "An entertaining show consisting of six monologues which provide a satirical commentary of life in modern South Africa...a number of different characters [are] played with great dexterity by Zanne Solomon and Tristan Jacobs."

"The stunning performance of Renos Nicos Spanoudes in the role of Dimitri Tsafendas – the descendent of a Greek father and a Swazi mother who assassinated, by stabbing, Dr Henrik Verwoerd – could make Living in Strange Lands the best play of the Festival.

The impeccable text that narrates the construction of a person "without a group", transcends the particular boundaries of the irrationality of the South African segregationism to pose questions about identity and home, in a universal geography.

The mastery with which Spanoudes interprets the radical doubt about the madness transports us to the same nucleus of classification systems that still today guide the actions that are hidden by the control of the whole State.

The investigative work of Anton Krueger (Imaginary Stage) is evident in the play and he has majestically achieved the combination of historic rigour with a magnificent Freudian theatrical realisation."

So Albie is looking for love while Adi is expecting to meet his new franchisee, but the identities of the two girls are mistaken for each other, leading to an increasingly embarrassing series of encounters helped along by awry sms's and seductive internet chat streams.

(Lee-Ann Knowles, Cue 28 Jun 2008) "A delightful comedy of errors in which Alan Ayckbourn-style farce meets chatroom culture, this play provides a refreshing moment in the midst of the festival's intensity."

[18] As part of the Pretoria-based poetry collective "Bekgeveg" Krueger appeared at venues in Pretoria, Johannesburg, Alberton and at major Afrikaans festivals including the Klein Karoo Nasionale Kunstefees and Aardklop, between 1998–2003.

Anton Krueger has presented papers at conferences on philosophy, literature and theatre in South Africa, as well as in Australia, Russia, the Netherlands, Finland, China, Argentina, Germany and Portugal.

He has published articles in the South African Theatre Journal, English in Africa, Scrutiny2, Current Writing and has reviewed books and drama for The Sunday Independent, the Mail and Guardian, Wordstock and Cue.