Robert Reid Robert Reid i(A122698 works by)
Gender: Male
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Works By

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1 Telly Elegy i "o telly! my telly!", Robert Reid , 2024 single work poetry
— Appears in: The Mozzie , February vol. 31 no. 5 2024; (p. 4)
1 Melbourne Theatre Company’s World Problems a Tour de Force Robert Reid , 2024 single work review
— Appears in: The Saturday Paper , 16-24 May 2024;

— Review of World Problems Emma Mary Hall , 2018 single work drama

'Melbourne Theatre Company’s nuanced and intelligent production of Emma Mary Hall’s award-winning World Problems shifts from a real past into an imagined future. By Robert Reid.'

1 Back to Back Theatre’s Multiple Bad Things Marred by Frustrating Ambiguity Robert Reid , 2024 single work review
— Appears in: The Saturday Pape , 20-26 April 2024;

— Review of Multiple Bad Things Back to Back Theatre , 2024 single work drama
'Multiple Bad Things, the latest show from national treasure Back to Back Theatre, is a troubling evocation of the heightened tensions of day-to-day experience.'
1 MTC’s Seventeen Is Nostalgic Fun. But Is There Deeper Meaning? Robert Reid , 2024 single work review
— Appears in: The Saturday Paper , 5 February 2024;

— Review of Seventeen Matthew Whittet , 2015 single work drama
'Melbourne Theatre Company’s first show for the year, Seventeen, is charming in many ways. But is that enough? By Robert Reid.' 
1 Carpet and Sand Robert Reid , 2024 single work drama

'Carpet and Sand is a pastiche of narrative threads. Peter Brook and a troupe of actors travel through the Sahara Desert in search of a new type of theatre. Tens of thousands of sheep spontaneously panic and stampede across Oxfordshire. A flock of birds gather for a conference. The play asks: who do we follow and why?'

Source: Production blurb.

1 [Review] My Sister Jill Robert Reid , 2023 single work review
— Appears in: The Saturday Paper , 14-20 October 2023;

— Review of My Sister Jill Patricia Cornelius , 2023 single work drama
'Patricia Cornelius’s play My Sister Jill – the story of a family between two wars – creates an other-worldly sense of suspension. By Robert Reid.'
1 Playwright Ash Flanders Robert Reid , 2023 single work column
— Appears in: The Saturday Paper , 15-21 July 2023;

'Ash Flanders has always pushed against convention. His new play, This Is Living, is no exception. By Robert Reid.' 

1 MTC’s Sunday Robert Reid , 2023 single work review
— Appears in: The Saturday Paper , 4-10 January 2023;

— Review of Sunday Anthony Weigh , 2021 single work drama
'Sunday, Melbourne Theatre Company’s drama about Heide’s artistic circle, risks erasing history in favour of sentimental romance. By Robert Reid.' 
1 [Review] Sunshine Super Girl Robert Reid , 2022 single work review
— Appears in: The Saturday Paper , 19-25 November 2022;

— Review of Sunshine Super Girl Andrea James , 2020 single work drama

'Melbourne Theatre Company’s newest work is an adventurous and relentlessly upbeat portrayal of the life of Evonne Goolagong Cawley. By Robert Reid.'

1 MTC’s Cyrano Robert Reid , 2022 single work review
— Appears in: The Saturday Paper , 8-14 October 2022;

— Review of Cyrano Virginia Gay , 2021 single work drama

'Cyrano – a contemporary adaptation of Edmond Rostand’s 1897 play Cyrano de Bergerac playing at the Melbourne Theatre Company – is another tour de force from Virginia Gay that tempts us with a romantic, all-consuming love fired by intellectual and creative connection. It is clever, witty, challenging, funny, touching and thought-provoking. It’s like a great first date – you get caught up talking and don’t even notice until the place starts closing around you.' (Introduction)   

1 Melbourne and Sydney Fringe Festivals Go Online Robert Reid , 2021 single work column
— Appears in: The Saturday Paper , 16-22 October 2021;
1 Crossing to Stream Robert Reid , 2021 single work column
— Appears in: The Saturday Paper , 4-10 September 2021;
'Amid the gloom of an industry largely left to fend for itself through the pandemic, digital seasons of live performance are a sign of hope. By Robert Reid.'

 (Introduction)

1 The Bacchae Robert Reid , 2019 single work drama

'A new exploration of the Bacchae myths, steeped in ritual and rebellion. A female & non-binary identifying cast tell stories of women and cults who have challenged the patriarchal status quo throughout history. Forget the original Bacchus, where the women wait offstage while men try and fail to tell their story. In Robert Reid’s epic new text the women take centre stage en masse! This fierce retelling, inspired by Richard Schechner’s “Dionysus in ‘69”, weaves in classic and pop culture references from Sophocles to The Manson Family. Join the Cult.'

Source: La Mama.

1 y separately published work icon Odd Seas Robert Reid , 2017 13572960 2017 single work drama

'We are intellectual refugees from a culture that persecutes us and we demand asylum.

'Three academics get tanked in the faculty lounge and end up in the middle of the ocean fleeing Australia by boat. What could go wrong?'

Source: La Mama.

1 We Play in Public Robert Reid , 2017 single work criticism
— Appears in: Axon : Creative Explorations , April vol. 7 no. 1 2017;
'This paper explores the relationship between play and power in the context of civic infrastructure and institutional systems as manifested in the work of Pop Up Playground. It focuses particularly on the ability of play to reveal the hidden tensions of ownership, negotiate social power structures and construct social spaces through temporary/fleeting communities of play.' (Publication abstract)
1 A City This Size Should Have so Many Theatres : The Church Theatre, 1983-1989 Robert Reid , 2014 single work criticism
— Appears in: Australasian Drama Studies , April no. 64 2014; (p. 23-37)

'The Australian Contemporary Theatre Company (ACTC) was resident at The Church Theatre from 1983 to 1989. The Church was an independent suburban venue, separate from the metropolitan theatres, and housed a season of works throughout the year, curated by the ACTC. Viewed in the context of the larger system of Melbourne theatre, the history of the ACTC demonstrates the value of a balance between large-scale, centralised, mainstream metropolitan arts centres and disparate, mid-sized suburban venues. During the 1980s, the presence of these companies and venues better enabled the kind of grassroots activity that fed the mainstage companies, gave crucial development time to emerging artists and artistic collaborations, and better integrated the performing arts into the wider community, encouraging ongoing engagement with new audiences.' (Publication abstract)

1 Reviews Robert Reid , 2012 single work review
— Appears in: Australasian Drama Studies , April no. 60 2012; (p. 244-246)

— Review of Transfigured Stages : Major Practitioners and Theatre Aesthetics in Australia Margaret Hamilton , 2011 single work criticism
1 Making the Improbable Inevitable: A History of the Malthouse Theatre Robert Reid , 2012 single work criticism
— Appears in: Australasian Drama Studies , April no. 60 2012; (p. 170-184)
'At 2.15 a.m. on 7 February 1984, fire broke out in the Playbox Theatre on Exhibition Street in Melbourne, tearing through the downstairs theatre and damaging the smaller upstairs theatre and offices. That night there had been reports from the theatre's security staff of having chased away "a youth from the back of the building, soon before the fire began". The next day, Carrillo Gantner sifted through the wreckage of the building, estimated at the time to be around $300,000 worth of damages, and took interviews from the press to show that the company's spirits were still high. They were, after all, riding the crest of a particularly successful wave at the time. Harry Kippax had, in the Sydney Morning Herald, called them a company of "national importance" and they were playing in Melbourne in the downstairs theatre with "The Search for Andy Cadabra" and upstairs with "The Execution of Steele Rudd"; and on tour in Sydney with the Athol Fugard play Master Harold and the Boys at the Seymour Centre and Insignificance in the Drama Theatre of the Sydney Opera House, a production presented by the Sydney Theatre Company (STC).' Robert Reid.
1 4 On the Production of Monsters Robert Reid , 2012 single work drama 'Partners Ben and Shari are your typical inner-city Melbourne hipsters: promoting vegetarianism, playing barefoot bowls and engaging in passionate debates about coffee. But no amount of good coffee can prepare them for when an innocent interview with a local newspaper propels them into a national scandal.' Source: www.mtc.com.au/ (Sighted 24/05/2012).
1 The Burning Hour Robert Reid , 2011 single work drama
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