What does it mean when theatre changes the rules? Robert Reid dives into the worlds of immersion, participation, performance and play.
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The final episode of Robert Reid’s first series of Witness Histories looks at the past forty years, bringing us up to the present day
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Awkward, pained, anxious and agitated: things don’t go well for Louis. Robert Reid on 80 Minutes No Interval at Theatre Works
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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 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.
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‘Beau is a body inhabited by ghosts that in turn summon ghosts’: Robert Reid on Dickie Beau’s Re-member Me
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La Boite’s Prize Fighter packs a mighty emotional punch, says Robert Reid
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Robert Reid finds the circus of NoFit State’s Lexicon impressive but lacking in focus
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‘I realise that I don’t believe any more that silence is Australia’s problem, that I think the opposite’: Robert Reid sorts through his dissastisfactions with Belarus Free Theatre’s co-production with Malthouse, Trustees