Critical Stages’ Come to Where I Am is illuminating the potential of performance online, says Robert Reid
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The proposed closure of Monash University’s CTP is a devastating blow to Australian theatre culture, says Robert Reid
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The present crisis in Australian theatre offers a unique opportunity. Robert Reid explains why we musn’t blow it
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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