‘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
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‘A triumph: remarkable, stunning, heart breaking’: Robert Reid on Silvia Calderoni’s extraordinary MDLSX
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Robert Reid barely survives a ‘howling maelstrom of transgressive audience behaviour’ in The Miss Behave Gameshow
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‘This is how theatre used to be immersive before the fourth wall: a participatory ritual of joy and storytelling and song.’ Robert Reid on Calamity Jane
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What does it mean when theatre changes the rules? Robert Reid dives into the worlds of immersion, participation, performance and play.
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The final episode of Robert Reid’s first series of Witness Histories looks at the past forty years, bringing us up to the present day
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Awkward, pained, anxious and agitated: things don’t go well for Louis. Robert Reid on 80 Minutes No Interval at Theatre Works