“White. Noise. So much white on stage. White Walls. White floor. White curtains that don’t quite work as a scrim. White anxieties.” Robert Reid reviews Fury, Joanna Murray-Smith’s exploration of middle-class extremism, and is unimpressed.
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Before the era of government subsidies, Australian colonial theatre was dominated by a production behemoth, JC Williamson Theatres, or “The Firm”. Robert Reid lays it all down.
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Robert Reid sees My Sister Feather at La Mama and discovers a masterfully crafted production
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“The life of the building is in its communities, not in the thousands of layers of paint that once covered the walls.” Robert Reid on the aftermath of the fire at La Mama.
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Robert Reid sees After Dark’s cabaret/circus show Society and owns up to his inner curmudgeon.
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Witness Histories, Episode 3 Part 1: Robert Reid tracks Australian theatre through the 19th century, through the often disreputable careers of the early actor-managers.
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Witness Histories, Episode 3 Part 2: Robert Reid tracks Australian theatre through the 19th century, through the often disreputable careers of the early actor-managers.
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In Next Wave’s Canine Choreography, Robert Reid discovers that untrained dogs are just…untrained dogs
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There’s something disturbing about Right Now at Red Stitch, says Robert Reid. Something about how it portrays its central character.
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Robert Reid finds himself suspended in time in Jean Tong’s new play, Hungry Ghosts