‘Since this is already two movies, why make a play that seems like a movie?’: Robert Reid on the Malthouse adaptation of Solaris
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Hallowed Ground gives space to the unheard stories of women in the army, but Robert Reid says that the rhetoric of militarism suffuses every scene
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Caryl Churchill’s devastating Escaped Alone at Red Stitch features some of the finest theatrical talent in this city, says Robert Reid
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How do white artists use refugees to make art? Return to Escape from Woomera prompts Robert Reid to ponder well-meaning political art in the Age of Morrison
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Robert Reid considers the epic nostalgia that is the phenomenon of Malthouse Theatre’s Cloudstreet
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‘An excellent example of how critique can be embodied. How it can be physical and funny as well as scalpel sharp’: Robert Reid on Vicki Van Hout’s plenty serious TALK TALK
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A participatory play about climate change, Whale is desperately sad, says Robert Reid
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‘We cannot keep pulling up the past behind us as we go’: Robert Reid on the rolling cultural disaster of unpublished Australian plays
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Comedy is traded for camp in Bell Shakespeare’s adaptation of The Miser, says Robert Reid
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‘Something crucial is missing’: Robert Reid is uninspired by Opera Australia’s West Side Story