From its initial season as a fringe play, Fleabag has grown to a global phenomenon. Kirsten Krauth talks to Sian Clifford about playing sisters with Phoebe Waller-Bridge
New on Witness
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Monique Grbec on Jacob Boehme’s brave, funny and beautiful multidisciplinary work, Blood on the Dance Floor
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‘In this assertion of humanity lingers the spark that becomes revolution’: Robert Reid on Wild Cherries at La Mama
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‘Cruising through the crank of hip hop, Omar Musa shines like the beautiful beacon he aspires to be’: Monique Grbec on When Ali Died
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‘The level of the audience’s participation in the show, whether it was screams, cheers, boos or bear growls, was something to behold’: youth critic Gully Thompson on Black Honey’s One the Bear
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How do we make systemic change in an often resistant industry? Jessica Walton reflects on an empowering symposium on disability and the arts
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From its initial season as a fringe play, Fleabag has grown to a global phenomenon. Kirsten Krauth talks to Sian Clifford about playing sisters with Phoebe Waller-Bridge
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When Tom Middleditch, a vocal advocate for neurodiverse representation on stage, saw Robot Song, his first response was rage. But then he changed his mind. This is what happened…
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‘A galvanising moment’: a conference last month on contemporary opera saw the frustrations of women creators boil over. Alison Croggon reports
Podcast: The Witness Interview with Candy Bowers. ‘You are asking someone from the field into the house, and we are going to fight. Because I will always fight to decentralise the white patriarchy’
by Ben Keene
The Witness Interview: In this month’s podcast, Robert Reid talks to the unclassifiable Nicola Gunn, one of Australia’s most important and intriguing theatre makers
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