Disarming but troubling, Alison Croggon says Belarus Free Theatre’s Generation Jeans plays on a binary that feels outdated.
Slider
-
-
First Nations Emerging Critic Carissa Lee on Mojo Juju’s Native Tongue, a family saga of self-discovery
-
Charles Manson as the usher of 21st century psychosis: Robert Reid reviews Sneakyville.
-
Robert Reid sees the Bloomshed’s The Nose, a contemporary take on Nikolai Gogol’s classic story
-
On the pain of women: First Nations Emerging Critic Carissa Lee explores how Australian plays portray violence against women.
-
The Witness Interview: Alison Croggon talks to choreographer Lucy Guerin, artistic director of Lucy Guerin Inc, about her early career and the profound importance of community to an artform like dance
-
The beginning of theatre as we know it now. In Video Histories: Episode 5.1: Witness historian Robert Reid looks at the beginning of the era of subsidised theatre.
-
September’s Live Night comes courtesy of our Stage Partners La Mama Theatre and Melbourne Fringe: Emily Sheehan’s acclaimed play Hell’s Canyon at La Mama.
-
Robert Reid reviews Emily Collyer’s Contest, an epic examination of relationships between women
-
“Nostalgia for the days when falling in love and starting a band and saying fuck the world meant something. Meant everything.” Robert Reid on Elbow Room’s Prehistoric
- 1
- 2