Robert Reid attends the first act of an extraordinary immersive performance of Chekhov’s Uncle Vanya in country Victoria
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There were plays! There were riots! There were offended clerics and government shutdowns! Robert Reid traces the fascinating, troubled and largely forgotten history of convict theatre after the First Fleet arrived in 1788, and ponders why so much of it seems so familiar.
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“David Finnigan seems the most unlikely candidate for a provocateur. He’s intelligent, polite, slightly awkward. But this unassuming guy has a real talent for generating controversy.” Robert Reid reviews Kill Climate Deniers
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“I’m considering the people passing by. I imagine them in a world changed by global military conflict. I see their shadows on the ground as the sun comes out. I imagine X-rays and blinding flashes.” Robert Reid on Shell Game at the Festival of Live Art
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Robert Reid reviews the Keir Choreographic Award: Yoni, Stop-Go and Public Action
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At the launch of Witness at La Mama Theatre last weekend, co-founder and editor Robert Reid made a speech. He called it a rant. But really it’s a kind of poem.
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Witness Histories Part 1: Choreographer and creative director of the Yirramboi First Nations Festival Jacob Boehme talks to Robert Reid about 80,000 years of Indigenous performance history in Australia.
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Witness Histories Part 2: Jacob Boehme talks to Robert Reid about 80,000 years of Indigenous performance history in Australia. Modernism? Post-dramatic theatre? What makes Europeans think that these are new ideas?
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We do not tell our story well. Robert Reid reflects on the structural malaise affecting our arts culture.
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Theatre’s never really had the best of reputations: it’s been commonly associated with thieves and prostitutes, disease and rebellion. It’s one of the reasons we like it. Robert Reid asks why we care.