If some real thought were applied to the MTC’s audio treatment of The Turn of the Screw, says Robert Reid, it could have been amazing
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Caitlin Beresford Ord embodies a forgotten Australian vaudeville star in Black Swan’s The Perfect Boy. Robert Reid checks it out
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Audio drama has a long and luminous history. So why does the MTC’s Audio Lab turn away from…theatre? Robert Reid reports
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Robert Reid relishes the chance to finally watch Ilbijerri’s classic, Jack Charles V The Crown
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It’s not the same as being there but, says Robert Reid, Redline Productions’ live streamed Thom Pain (Based on Nothing) offers something else
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Maybe traditional performing arts could learn a lot from YouTube vloggers and online games. For the launch of BLEED 2020, Robert Reid investigates live digital performance
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Robert Reid continues his exploration of the hidden corners of Australian playwriting with a story of colonial Tasmania, Catherine Shepherd’s 1938 play Daybreak
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Now we’re all extras in a disaster movie, Robert Reid thinks through the dramaturgy of pandemic
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Robert Reid continues his isolation reviews of Australian plays with Angela Fewster’s Black Crysanthemums
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In the first of a new video series focusing on lesser known works in the Australian canon, Robert Reid reviews Dorothy Blewett’s 1941 play Quiet Night