‘Left with Netflix, I realise that art may indeed be as crucial as food and shelter’: Jana Perković on watching European performance through the pandemic
New on Witness
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Eternal, DARKFIELD RADIO’s foray into an immersive form of horror, is deliciously effective, says Caitlin Doyle-Markwick
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The Picture of Dorian Gray is spectacular, yet somehow never succumbs to the seductions of spectacle, says Alison Croggon
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Angus Cerini’s The Bleeding Tree reveals the brutalising and disfiguring reality of male violence, says Ben Brooker
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Michele Lee’s Broth Bitch uses a podcast format to follow the life of “vegan soup goddess”, says Robert Reid
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‘People ignore it. Children play tag in spite of it. Teenagers dare each other to punch it.’ Robert Reid on Federation Square’s public artwork Sky Castle
Michele Lee’s Broth Bitch uses a podcast format to follow the life of “vegan soup goddess”, says Robert Reid
by Robert Reid
‘Left with Netflix, I realise that art may indeed be as crucial as food and shelter’: Jana Perković on watching European performance through the pandemic
Witness critics preview this year’s Melbourne Fringe program, here despite everything
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
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