‘The trial has prompted a deep anger within the theatre community. Its reverberations will echo for a long time’: Alison Croggon looks at the Geoffrey Rush defamation trial and its inevitable connections to #MeToo
New on Witness
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First Nations Emerging Critic Carissa Lee on The Danger Ensemble’s boundary-pushing The Hamlet Apocalypse
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New Review critic Georgia Mill encounters a feminist twist on Shakespeare in Wit Incorporated’s Ophelia Thinks Harder
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Alison Croggon reviews emerging choreographers Lauren Langlois and Joel Bray in Chunky Move’s Next Move 11
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‘A yearning for simpler times, simpler narratives and endless familiarity’: Robert Reid reviews Andrew Lloyd Webber’s School of Rock
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‘The no-space, the no-time, the un-now, of waiting to die, is hauntingly sketched’: Robert Reid on Triage Live Art Collective’s The Infirmary
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In our eighth Witness Podcast, Carissa Lee and Alison Croggon discuss the importance of diversity in arts criticism: why we need it, and why the lack of it contributes to inequalities in the arts.
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First Nations Emerging Critic Carissa Lee discusses why culturally informed reviews are crucial for Indigenous performance
by Carissa Lee -
Playwright Jean Tong talks to theatre makers Rachel Perks and Bridget Balodis about queer dramaturgy and identity, astrology and finding a new language
by Jean Tong -
The recent restructure of Arts South Australia and budget cuts of $31m have thrown the state’s arts sector into chaos. Ben Brooker reports
by Ben Brooker -
Why do we pander to mediocrity and bad behaviour from male comics? Aboriginal comedy writer Angelina Hurley reflects on her disappointments
In our eighth Witness Podcast, Carissa Lee and Alison Croggon discuss the importance of diversity in arts criticism: why we need it, and why the lack of it contributes to inequalities in the arts.
by Ben Keene
For this month’s Witness Interview, Robert Reid talks to Australian playwright Amelia Roper about making a career in the United States and all things writing, including guineapigs.
by Ben Keene
In this episode of Witness Histories, Robert Reid covers the emergence of the New Wave of theatre makers in the 1960s and 70s, including La Mama, The Australian Performing Group and the NIDA production of The Legend of King O’Malley.
by Robert Reid
First Nations Emerging Critic Carissa Lee is charmed by Barking Gecko’s A Ghost in my Suitcase
by Carissa Lee
‘Sheer joyousness and delight’: Alison Croggon on the austere brilliance of William Forsythe’s A Quiet Evening of Dance
Alison Croggon unloosed her inner child and ventured to German theatre maker Sybille Peters’ live art for children at Melbourne Fringe’s XS