Alison Croggon wonders why Bliss is the story that needs to be told right now
Carissa Lee reflects on Bell Shakespeare’s recent intimate production of Antony and Cleopatra
Carissa Lee reviews UK artist Selina Thompson’s salt, a story of colonisation, racism and hope
“Writing is a kind of magic, and this spell is very particular.” Alison Croggon on Rosie Isaac’s Next Wave work, Intestine in my Eye.
In Next Wave’s Canine Choreography, Robert Reid discovers that untrained dogs are just…untrained dogs
There’s something disturbing about Right Now at Red Stitch, says Robert Reid. Something about how it portrays its central character.
Carissa Lee discovers how some of Australia’s most innovative and internationally recognised theatre companies are making theatre specifically for children
Government arts funding is on the way out, says Robert Reid. And if arts companies are to survive, they have to invite audiences in.
Robert Reid talks to Jane Woollard, playwright, director and historian about the lost history of women in 19th century colonial Australian theatre
Is “political correctness” a thing? Can we be critically rigorous and also not bigoted? This month Team Witness dives into the minefield of political correctness and freedom of speech in the arts.
Witness Histories, Episode 3 Part 1: Robert Reid tracks Australian theatre through the 19th century, through the often disreputable careers of the early actor-managers.