Features

How do we make systemic change in an often resistant industry? Jessica Walton reflects on an empowering symposium on disability and the arts

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

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…

‘A galvanising moment’: a conference last month on contemporary opera saw the frustrations of women creators boil over. Alison Croggon reports

‘We cannot keep pulling up the past behind us as we go’: Robert Reid on the rolling cultural disaster of unpublished Australian plays

‘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

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?

‘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 

‘You want to be a critic who thinks with all of her body’: Alison Croggon on the process of reviewing, extracted from her new collection of criticism, Remembered Presences