We don’t want to be constantly shaking our metaphorical cans in your face so after March, we stepped backand concentrated on getting things done. But now it’s time for our EOFY campaign. Here’s why we need your support.
New on Witness
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“Gloria is television theatre, for a television generation.” Alison Croggon reviews Gloria, Branden Jacobs-Jenkins’ play at the Melbourne Theatre Company
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“What will we do while we are still free to do it?” Cassie Tongue on Daniel Schlusser’s remarkable adaptation of Christa Wolf’s novel They Divided the Sky
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“Does the picture in your head ever go away?” Monique Grbec reviews Jada Albert’s Brothers Wreck, a devastating play about Indigenous suicide.
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“White. Noise. So much white on stage. White Walls. White floor. White curtains that don’t quite work as a scrim. White anxieties.” Robert Reid reviews Fury, Joanna Murray-Smith’s exploration of middle-class extremism, and is unimpressed.
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Before the era of government subsidies, Australian colonial theatre was dominated by a production behemoth, JC Williamson Theatres, or “The Firm”. Robert Reid lays it all down.
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This month, Robert Reid talks to actor, theatre maker and performer Yoni Prior about her work with Barrie Kosky’s first company, Gilgul.
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When representation isn’t enough: Tom Middleditch of A_tistic Theatre looks at the knotty question of diversity in creative teams
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“You can write what you know without writing the literal occurrences of your own personal life.” Playwright Jean Tong is over her work being read as autobiographical.
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When we go to the theatre, what do we expect? Do we have a responsibility? Witness First Nations Emerging Critic Carissa Lee thinks so.
by Carissa Lee -
“The life of the building is in its communities, not in the thousands of layers of paint that once covered the walls.” Robert Reid on the aftermath of the fire at La Mama.
by Robert Reid
This month, Robert Reid talks to actor, theatre maker and performer Yoni Prior about her work with Barrie Kosky’s first company, Gilgul.
by Ben Keene
Since 2013, the absolute number of individual artists and organisations funded by the Australia Council has decreased by 73 per cent. Alison Croggon and Robert Reid take a look at how we got here.
by Ben Keene
Before the era of government subsidies, Australian colonial theatre was dominated by a production behemoth, JC Williamson Theatres, or “The Firm”. Robert Reid lays it all down.
by Robert Reid