Monique Grbec reports on Chamber Made’s Hi-Viz Practice Exchange, a day of connection for women and non-binary artists
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The devastating funding cuts of the mid-90s are being repeated, destroying the painstaking repairs of the past two decades. Robert Reid on this particular circle of arts hell
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How do we make systemic change in an often resistant industry? Jessica Walton reflects on an empowering symposium on disability and the arts
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From its initial season as a fringe play, Fleabag has grown to a global phenomenon. Kirsten Krauth talks to Sian Clifford about playing sisters with Phoebe Waller-Bridge
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When Tom Middleditch, a vocal advocate for neurodiverse representation on stage, saw Robot Song, his first response was rage. But then he changed his mind. This is what happened…
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‘A galvanising moment’: a conference last month on contemporary opera saw the frustrations of women creators boil over. Alison Croggon reports
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‘We cannot keep pulling up the past behind us as we go’: Robert Reid on the rolling cultural disaster of unpublished Australian plays
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‘Disabled artists should be a priority for this industry. Many artists are already there creating work. They don’t need mentorships! They need money.’ Jessica Walton on the power of disability-led art
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Last year, Witness associate editor Carissa Lee saw a lot of performances about death. What does it mean when we put death on our stages? In particular, what does it mean if you’re Aboriginal?
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‘We should be thinking, not about how these processes inhibit our expression, but how they might liberate it’: actor Dan Spielman explores the implications of #MeToo for the performing arts