Kim Ho’s The Great Australian Play at Theatre Works is a post dramatic swing at some of Australia’s favourite colonial tropes. Historian and playwright Robert Reid unpicks some of its threads
-
-
Is it enough to re-create a myth? Robert Reid on Marlene Dietrich Perfect Illusion at the Butterfly Club
-
‘It’s awkward, it’s rough, it’s messy, it’s hit-and-miss; but there are glints of something really great here’: Robert Reid on Po Po Mo Co’s Summer of the Seventeenth Doll at Midsumma
-
The subtleties of grieving are beautifully evoked in Lemony S Puppet Theatre’s Taking the Waters, says Robert Reid
-
Despite stellar artists, The Audition at La Mama thins out and ultimately goes nowhere, says Robert Reid
-
Thigh Gap at La Mama tracks how the demands of patriarchy turn us into monsters, says Robert Reid
-
A Normal Child evokes the ‘awkwardness, contradiction and messy humanity’ of the question of representation, says Robert Reid
-
Ellen Grimshaw’s polyvocal Just Us Girls – What’s a Girl? reminds Robert Reid of Samuel Beckett. And Blondie
-
‘Everything about The Bloom Shed reminds me of the “good” old days of the Indy Theatre Boom of the 2000s’: Robert Reid on The Market is a Wind-up Toy
-
With its regimented, mechnical movement, Sandra Parker’s Adherence recalls a science fiction dystopia, says Robert Reid