Charming and heartbreaking: Robert Reid on Biladurang, Joel Bray’s performance about the cultural damage of colonisation
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An engrossing exploration: Robert Reid on Alison Currie’s Concrete Impermanence
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‘If everything is meaningful, then nothing is’: Robert Reid on Iain Sinclair’s hallucinatory production of A View from the Bridge at the Melbourne Theatre Company
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‘I keep seeing the biological and mechanical, the visceral mechanics of biology, cells and atoms. The physics of life’: Robert Reid on Madeleine Krenek and Frankie Snowdon’s The Perception Experiment
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‘The contrast of these two women, their stories, their politics, their mythologies, goes begging’: Robert Reid on Stephen Sewell’s Arbus and West
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In this month’s Video History, join Witness historian Robert Reid on a walking tour of Melbourne’s lost theatres
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‘This production is perhaps at its most eloquent when it is at its most inarticulate’: Robert Reid on M: Kaddish for the Children at Footscray Community Arts Centre
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Bedtime Stories for Girls at The Butterfly Club is an ‘acid reflection of the cartoonish femininity imposed on women’, says Robert Reid
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‘I find myself not only questioning the value of these tears, but also their cost. Who pays for these tears?’: Robert Reid on the Little Ones Theatre’s Merciless Gods
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The artifical dilemma of binaries: Robert Reid on Fifteen Minutes from Anywhere’s return season of Cock