‘Left with Netflix, I realise that art may indeed be as crucial as food and shelter’: Jana Perković on watching European performance through the pandemic
New on Witness
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Emilie Collyer finds her way back to the magic of theatre through four Melbourne Fringe shows
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In exploring homelessness in Melbourne, Crash With Me skirts uncomfortably close to trauma porn, says Monique Grbec
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A glimpse into everyday family tensions, the intimacy of Source Amnesia is compromised by its video format, says Monique Grbec
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A new digital take on Wonderland, Alice² picks up how Lewis Carroll used popular games as narrative structures, says Monique Grbec
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The Agency of Coney’s Telephone is a playful invitation into a communal online space, says Robert Reid
Emilie Collyer finds her way back to the magic of theatre through four Melbourne Fringe shows
‘Left with Netflix, I realise that art may indeed be as crucial as food and shelter’: Jana Perković on watching European performance through the pandemic
Witness critics preview this year’s Melbourne Fringe program, here despite everything
by Robert Reid
Robert Reid continues his exploration of the hidden corners of Australian playwriting with a story of colonial Tasmania, Catherine Shepherd’s 1938 play Daybreak
by Robert Reid
Robert Reid continues his exploration of the hidden corners of Australian playwriting with a story of colonial Tasmania, Catherine Shepherd’s 1938 play Daybreak
by Robert Reid