‘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
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‘A yearning for simpler times, simpler narratives and endless familiarity’: Robert Reid reviews Andrew Lloyd Webber’s School of Rock
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‘The no-space, the no-time, the un-now, of waiting to die, is hauntingly sketched’: Robert Reid on Triage Live Art Collective’s The Infirmary
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In this episode of Witness Histories, Robert Reid covers the emergence of the New Wave of theatre makers in the 1960s and 70s, including La Mama, The Australian Performing Group and the NIDA production of The Legend of King O’Malley.
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‘Beau is a body inhabited by ghosts that in turn summon ghosts’: Robert Reid on Dickie Beau’s Re-member Me