Team Witness gets together for a final podcast yarn about criticism, funding, Australian theatre history, Ibsen, Blak voices, inclusion and exclusion, accessibility, digital theatre, revolution, why we closed and what we loved about making Witness.
New on Witness
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Theatre isn’t in trouble in this country because of the pandemic. As Robert Reid explains, the problems are much deeper – and older – than the Covid-19 crisis.
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Cactus is a sweet coming-of-age tale that addresses the pain of infertility, says Monique Grbec
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Childrens performance critic Gully Thompson says that Parrwang Lifts the Sky is a thrilling example of performance for young people
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Emilie Collyer traces the multiple collaborations behind Chamber Made’s bold new work SYSTEM_ERROR
Theatre isn’t in trouble in this country because of the pandemic. As Robert Reid explains, the problems are much deeper – and older – than the Covid-19 crisis.
by Robert Reid
Emilie Collyer traces the multiple collaborations behind Chamber Made’s bold new work SYSTEM_ERROR
Team Witness gets together for a final podcast yarn about criticism, funding, Australian theatre history, Ibsen, Blak voices, inclusion and exclusion, accessibility, digital theatre, revolution, why we closed and what we loved about making Witness.
by Ben Keene
Ben Keene talks to Stephen Armstrong and Dan Koerner from Asia TOPA about the exciting digital innovations forced on the festival by last year’s pandemic crisis.
by Ben Keene
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