Robert Reid attends the first act of an extraordinary immersive performance of Chekhov’s Uncle Vanya in country Victoria
‘To take a breath is complex. To be outside power and yet still speak is phenomenal.’ Cassie Tongue on Sydney Chamber Opera’s extraordinary new work, The Howling Girls.
Alison Croggon reviews Romeo is Not the Only Fruit and Fleabag at the Melbourne International Comedy Festival
Witness sound editor Ben Keene gives us a peek inside his editing studio, and his experience with the “musical illusion”: the song of conversation.
Want to write outside your own culture? Carissa Lee explores why research is so important, and why it’s about a lot more than than heading to your local library
There were plays! There were riots! There were offended clerics and government shutdowns! Robert Reid traces the fascinating, troubled and largely forgotten history of convict theatre after the First Fleet arrived in 1788, and ponders why so much of it seems so familiar.