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
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Ascent is an ambitious work that examines the physical anxieties of women, says Robert Reid
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Robert Reid and Sayraphim Lothian attend an intriguing auditory experience for children, I Am Hear, without a child
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Never Ending Night, a post-apocalyptic immersive experience, leaves Robert Reid pondering his role as an audience member
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Ten years ago, Elbow Room premiered There. During Melbourne Fringe, they remounted it in tandem with Here, a new work by the same artists. Robert Reid winds his way through the metatheatrical labyrinth
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Robert Reid says Cam Venn’s Charles Horse Lays an Egg is Fringe at its Fringiest