Six months into the pandemic, Team Witness meet online to chew the fat on art, life and making meaning now
New on Witness
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Darkfield Radio’s Visitors, an audio ghost story in which the set is your own home, leaves Robert Reid hungry for more
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Carissa Lee investigates a research project that aims to redress the historical neglect of work by women and non-binary theatre makers
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Holesp@ce, from multi-disciplinary collective STRANGEkit. is a surreal tour through our hyperconnected present, says Robert Reid
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After its premiere season was cancelled in Melbourne, Sunshine Super Girl – a celebration of Evonne Goolagong – opened in Griffith last week. Bryan Andy took his Nan to see the show
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Inspired by Georges Rouault’s paintings, Seeing Through Darkness reimagines the disabled body, says Jess Martin
Podcast: Ben Keene examines how BLEED 2020 pivoted to existing entirely online after Covid-19 hit in March this year
by Ben Keene
Carissa Lee investigates a research project that aims to redress the historical neglect of work by women and non-binary theatre makers
by Carissa Lee
The Rob Guest Endowment debacle is a missed opportunity for change, says Sonya Suares
by Sonya Suares
Are we capable of imagining a world without inequality? Jess Flint on Daz Chandler’s The Parallel Effect for Next Wave’s Assemble
by Jess Flint
‘An atmospheric portal opened up and dropped me somewhere I don’t think I can describe’. Blind critic Olivia Muscat goes on a walk with Rachel Meyers’ Southern Ecophony: Wind and Water
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