After more than a decade apart, comedy due Lano and Woodley have lost none of their charm, says Robert Reid
Robert Reid

Robert Reid
Robert Reid is co-editor and co-founder of Witness and runs our educational resources. He is a playwright, director and academic. His award-winning plays have been produced by the Melbourne Theatre Company and his own independent companies. He is artistic director of the games-based performance company, Pop Up Playground, and his Platform Paper on theatre and digital marketing was published by Currency Press in 2011. He recently completed his PhD in Australian Theatre History.
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Malthouse Theatre’s Because the Night is impressive in many ways, but it’s only a first step in realising what immersive theatre can be, says Robert Reid
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Insider jokes on classic horror tropes and vaudeville clowning make Innes Lloyd’s latest show a fun ride, says Robert Reid
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Elbow Room’s joyous production of Enlightenment shows the strengths of Melbourne’s indie theatre scene, says Robert Reid
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An irresistible musical with a dark heart, Fangirls summons the chaos of adolescence, says Robert Reid
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Branch Nebula’s High Performance Packing Tape pushes cheap material – and Robert Reid’s patience – to the limits
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In A German Life, Robyn Nevin gives a masterly performance of complicity as she recounts the life of Goebbels’ stenographer, says Robert Reid
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In his production of Medea, Simon Stone bring his contemporary approach to classic Greek tragedy, and strips it of much of its power, says Robert Reid
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Coming out of last year’s pandemic, two clowning shows – The Anniversary and Jofus and the Whale – show very different aspects of the art, says Robert Reid
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Michele Lee’s Broth Bitch uses a podcast format to follow the life of “vegan soup goddess”, says Robert Reid