Ellen Grimshaw’s polyvocal Just Us Girls – What’s a Girl? reminds Robert Reid of Samuel Beckett. And Blondie
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‘Everything about The Bloom Shed reminds me of the “good” old days of the Indy Theatre Boom of the 2000s’: Robert Reid on The Market is a Wind-up Toy
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With its regimented, mechnical movement, Sandra Parker’s Adherence recalls a science fiction dystopia, says Robert Reid
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An immersive work that tackles our inaction on the climate crisis, What Am I Supposed To Do (WAISTD) is inventive but politically underwhelming, says Robert Reid
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‘A love of life might not have been better depicted on stage than a lone person joyfully rollerskating naked’: Robert Reid on Andi Snelling’s Happy Go Wrong
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A razor-sharp parody of Australian hypocrisy, with dangerously empty moments: Robert Reid on the Batmania bus tour at Melbourne Fringe
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The devastating funding cuts of the mid-90s are being repeated, destroying the painstaking repairs of the past two decades. Robert Reid on this particular circle of arts hell
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A pastiche epic of the Australian and British theatre of the 70s with a dash of feminist politics as its core, The Other Place is neither wild nor smart enough, says Robert Reid
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‘In this assertion of humanity lingers the spark that becomes revolution’: Robert Reid on Wild Cherries at La Mama
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Shakespeare in Love was always going to be a crowd pleaser. But for Robert Reid, it’s an opportunity missed