Ben Keene talks to theatre maker Daniel Schlusser – a performer, director, dramaturg and thinker who over the past decade has made some of Australia’s most groundbreaking theatre
New on Witness
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Midsumma show F*ck Fabulous is exhilarating variety that celebrates every kind of queerness, says Anne-Marie Peard
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Jonathan Biggins’ new show serves up Keating’s greatest hits, but never quite escapes its sketch show origins, says Ben Brooker
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Lou Wall’s hilarious recounting of how they tried to join the Illuminati is only the beginning of a story about human loneliness, says Anne-Marie Peard
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Alan Brough’s new musical for children suffers from thoughtless stereotyping, says youth critic Gully Thompson
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After more than a decade apart, comedy due Lano and Woodley have lost none of their charm, says Robert Reid
An irresistible musical with a dark heart, Fangirls summons the chaos of adolescence, says Robert Reid
by Robert Reid
Branch Nebula’s High Performance Packing Tape pushes cheap material – and Robert Reid’s patience – to the limits
by Robert Reid
January 26 is always a hard day for First Nations peoples, says Carissa Lee. And as the ‘Cheesegate’ scandal at Queensland Theatre reveals, our theatre spaces are still unsafe
by Carissa Lee
‘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
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
Ben Keene talks to theatre maker Daniel Schlusser – a performer, director, dramaturg and thinker who over the past decade has made some of Australia’s most groundbreaking theatre
by Ben Keene
Six months into the pandemic, Team Witness meet online to chew the fat on art, life and making meaning now
by Ben Keene
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