Setting the bar high: youth correspondent Gully Thompson on the Melbourne season of Terrapin’s A Not So Traditional Story, opening soon at the Brisbane Festival
Educational theatre has a bit of a bad reputation. […]

‘The level of the audience’s participation in the show, whether it was screams, cheers, boos or bear growls, was something to behold’: youth critic Gully Thompson on Black Honey’s One the Bear
I love to see s […]

Autistic critic Jess Flint reviews A_tistic Theatre’s Helping Hands, a show that explores how ‘help’ can sometimes be the opposite
Helping Hands, the new performance by A_tistic Theatre, seeks to define exactly […]

How do we make systemic change in an often resistant industry? Jessica Walton reflects on an empowering symposium on disability and the arts
What defines an emerging artist? At what point do we stop emerging, and […]

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
The shock of the first season of Fleabag […]

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…
One thing I value, both as a […]

Canadian First Nations choreographer Lara Kramer draws a surreal picture of colonised life in Windigo, says Philipa Rothfield
Windigo by Lara Kramer, a Canadian choreographer of Cree, Ojibwe and Mennonite […]

Yumi Umiumare’s Butoh work Forbidden Laughter shows that laughter isn’t always funny, says Philipa Rothfield
Butoh Out’s 2019 performance season, Forbidden Laughter, draws together 20-odd performers. They’re a h […]

Teen critic Gully Thompson is disappointed by the stage adaptation of David Walliams’ Billionaire Boy
As a child, (which wasn’t that long ago) I was one of the many fans of David Walliams’s books. The books are […]

‘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
If you w […]

Monumental and mythic: Philipa Rothfield on Jill Orr’s Dark Night
Dark Night, like much of Jill Orr’s work, has an epic, visual sensibility. A woman stands astride a wooden ship, perched on a hill of wooden c […]

Creating worlds: Philipa Rothfield on Lilian Steiner’s Memoir for Rivers and the Dictator and Rachel Arianne Ogle’s i have loved the Stars too Fondly to be Fearful of the Night
At first glance, these two works […]

Come and see some dance with Witness!
Dance Massive hits Melbourne stages this week, and as part of our special Dance Massive Critical Focus we’re offering not one, not two, but three Witness Salons for our […]

Kirsten Krauth speaks to directors Glyn Roberts, Lindy Hume and Glenn Wright about their upcoming regional arts festivals
When you think of arts festivals, the first that spring to mind are the major city […]

What are Relaxed Performances? Who are they for? And why do they matter? Tom Middleditch from A_tistic Theatre gives us the lowdown
First, some history, without any facts
It’s hard to imagine anything i […]

Announcing the 2019 First Nations Emerging Critic: choreographer, dancer and artistic powerhouse Jacob Boehme
We’re thrilled to announce that Jacob Boehme will be the second Witness First Nations Emerging Critic, […]

We made it this far. AWESOME! But Witness needs your help or we’ll have to close in June…
Happy New Year to all our readers! Over the summer theatre break we’ve been busy under the hood, tinkering with the […]

Teen critic Gully Thompson takes a look at Arts Centre Melbourne’s Stories in the Wall, an ongoing project that harnesses the creative imagination of primary school children
I have more than once found myself […]

Applications are now open for the 2019 Witness First Nations Emerging Critic
Witness, founded earlier this year by Alison Croggon and Robert Reid, is a curated website that fosters critical discussion of the […]