The present crisis in Australian theatre offers a unique opportunity. Robert Reid explains why we musn’t blow it
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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If some real thought were applied to the MTC’s audio treatment of The Turn of the Screw, says Robert Reid, it could have been amazing
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Caitlin Beresford Ord embodies a forgotten Australian vaudeville star in Black Swan’s The Perfect Boy. Robert Reid checks it out
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Audio drama has a long and luminous history. So why does the MTC’s Audio Lab turn away from…theatre? Robert Reid reports
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Robert Reid relishes the chance to finally watch Ilbijerri’s classic, Jack Charles V The Crown
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It’s not the same as being there but, says Robert Reid, Redline Productions’ live streamed Thom Pain (Based on Nothing) offers something else
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Maybe traditional performing arts could learn a lot from YouTube vloggers and online games. For the launch of BLEED 2020, Robert Reid investigates live digital performance
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Robert Reid continues his exploration of the hidden corners of Australian playwriting with a story of colonial Tasmania, Catherine Shepherd’s 1938 play Daybreak
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Now we’re all extras in a disaster movie, Robert Reid thinks through the dramaturgy of pandemic
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Robert Reid continues his isolation reviews of Australian plays with Angela Fewster’s Black Crysanthemums