‘I couldn’t imagine why anyone would take this absurd set-up as anything but the occasion for some kind of vicious Orton-esque farce’: Alison Croggon on the MTC’s Home I’m Darling
New on Witness
-
-
Isabella Whawai Waru’s Where We Stand raises urgent questions about the structures that inform Indigenous artmaking, says Jacob Boehme
-
The subtleties of grieving are beautifully evoked in Lemony S Puppet Theatre’s Taking the Waters, says Robert Reid
-
Kate Hunter’s theatre poem Earshot – remounted last week for the Due West Arts Festival – is a darkly pleasurable delight, says Alison Croggon
-
These days, says comic Angelina Hurley, there’s no excuse not to understand Aboriginal and Torres Strait Islander cultures. And what better way to get to know them than through humour?
-
Monique Grbec reports on Chamber Made’s Hi-Viz Practice Exchange, a day of connection for women and non-binary artists
-
The devastating funding cuts of the mid-90s are being repeated, destroying the painstaking repairs of the past two decades. Robert Reid on this particular circle of arts hell
by Robert Reid -
How do we make systemic change in an often resistant industry? Jessica Walton reflects on an empowering symposium on disability and the arts
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