The exhilarating Victorian College of the Arts production of Fucking A was a rare chance to see one of the US’s most significant playwrights, says Alison Croggon
New on Witness
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‘I realised I was shocked to hear women in roles this big, ugly and bombastic – they have so rarely been afforded this kind of space’: Jane Howard on an anarchic three-woman production of David Williamson’s The Club
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‘Something crucial is missing’: Robert Reid is uninspired by Opera Australia’s West Side Story
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Teen critic Gully Thompson is disappointed by the stage adaptation of David Walliams’ Billionaire Boy
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‘Disabled artists should be a priority for this industry. Many artists are already there creating work. They don’t need mentorships! They need money.’ Jessica Walton on the power of disability-led art
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Last year, Witness associate editor Carissa Lee saw a lot of performances about death. What does it mean when we put death on our stages? In particular, what does it mean if you’re Aboriginal?
by Carissa Lee -
‘We should be thinking, not about how these processes inhibit our expression, but how they might liberate it’: actor Dan Spielman explores the implications of #MeToo for the performing arts
by Dan Spielman -
‘You want to be a critic who thinks with all of her body’: Alison Croggon on the process of reviewing, extracted from her new collection of criticism, Remembered Presences
Robert Reid talks to broadcaster, writer and general arts stalwart Richard Watts, discussing his background as a poet, activist and advocate, and his passionate and abiding connection to Australian arts.
by Ben Keene
‘When I think about art, I think: what raises the hair on your arms’ In Part 1 of this super fabulous and candid Witness Interview, Ben Keene talks to performance artist Moira Finucane on the development of her unique queer performance art
by Ben Keene
In this month’s Video History, join Witness historian Robert Reid on a walking tour of Melbourne’s lost theatres
by Robert Reid
Force Majeure’s You Animal, You is full of dramaturgical silences that tear holes in the text, says Robert Reid
by Robert Reid