The neoliberal shift in education, characterised by values and language of the marketplace, presents a significant challenge to social justice education (SJE), education for sustainable development (ESD) and the arts. Educational policy and decision-making have become increasingly infused and driven by the logic of profit, and disciplines that have a purchase in the marketplace are valued more highly (Ball, 2016). It seems that the dominant, marketised view of education is becoming accepted as the norm. Writing in an Australian context, Keddie (2016) asserts that students in today’s classrooms are students of the market, crafting their identities and making sense of their educational and employment experiences and choices within the context of neoliberal imperatives. Gallagher (2016) concurs, noting how students have begun to internalise robust neoliberal messages that emphasise individualism, usefulness and competition. Keddie (2016) refers to the anxiety experienced by high achievers, those “succeeding” in such a climate, highlighting the very real connections between a neoliberal education system and children’s wellbeing. Eliasson (2016) spotlights this drift towards individualism and argues that one of the greatest challenges today is that people feel untouched by issues affecting humankind and fail to feel connected to a greater we. A need, therefore, for critical, relational pedagogies such as drama, which require human interaction, co-operation, communication, imagination, experimentation and critical reflection, becomes apparent. Rather than accepting the neoliberal shift, we consider drama a critical, relational pedagogy, that because of its promotion of interdependence and connectedness, presents a timely counter-narrative.