Witness Podcasts Witness Performance

Team Witness – Alison Croggon, Carissa Lee, Robert Reid and Ben Keene – got together for a final podcast yarn about criticism, funding, Australian theatre history, Ibsen, Blak voices, inclusion and exclusion, accessibility, digital theatre, revolution, why we closed and what we loved about making Witness.







Farewell music composed by Ben Keene.







Thanks so much, everyone. It’s been so much fun. And that’s a wrap!

Ben Keene talks to Asia TOPA creative director Stephen Armstrong and director of design studio Sandpit and Asia TOPA digital dramaturg Dan Koerner about the innovation across digital platforms that followed when Covid-19 hit a major performing arts festival.

‘I’m absolutely one for watching a performance that is held by a beautifully written play … but if it’s the only thing you’re eating, it’s horrifically dangerous to your system.’























Ben Keene talks to director, performer and dramaturg Daniel Schlusser about his practice, his thinking about theatre, and his continually shifting relationship to reading, writing and performance. Schlusser’s work encompasses many approaches to theatre making and traverses opera and installation as well as a wide range of work for companies ranging from the Melbourne Theatre Company to Chunky Move to the exploratory work of his own company, Daniel Schlusser Ensemble. Over the past few decade he has created some groundbreaking work, including memorable interrogations of classics such as Ibsen’s A Doll’s House and Peer Gynt, and has worked with writers from Jack Hibberd to Falk Richter.







He formed the Daniel Schlusser Ensemble in 2009, creating works such as They Divided the Sky (Belvoir), M+M (adapted from Bulgakov’s The Master and Margarita for Melbourne Festival), Menagerie (Melbourne Theatre Company), Ophelia doesn’t live here anymore (Chamber Made Opera), Poet #7, Life is a Dream, The Dollhouse, and Peer Gynt. Outside his own company, directing highlights include two works Thomas Bernhard’s The Histrionic for Malthouse/Sydney Theatre Company and Euripides’ Medea for the 2002 Melbourne Festival. Premiere productions of new Australian work including Ben Ellis’ Zombie State for Melbourne Workers Theatre/Union House Theatre, Angus Cerini’s The Barbeque for La Mama, and many works by Jack Hibberd including the premiere productions of The Death of Ivan Ilych, Legacy, Long Time No See and Slam Dunk (all La Mama) as well as his plays The Overcoat, Odyssey of a Prostitute and The Prodigal Son for Playbox.







As a performer Schlusser’s work includes Trustees with Belarus Free Theatre and Malthouse, which he also co-wrote, Trapper directed by Christian Leavesley and Jolyon James (Arena Theatre Company at the Victorian Arts Centre and the Sydney Opera House) which was nominated for a Green Room Award for Best Ensemble, The Judgement directed by Samara Hersch (La Mama), the role of ‘Husband’ in Adena Jacob’s multi-award winning production of Persona (TheatreWorks/ Malthouse/Belvoir), and Laius in Matthew Lutton’s production On the Misconception of Oedipus (Malthouse/Perth TC) which won a Green Room Award for Best Ensemble. With THE RABBLE he created the role of Herod in Salome (Carriageworks) and the role of Bernarda Alba in Cageling (fortyfive downstairs/Carriageworks) for which he was nominated for a Green Room Award for Best Male Actor.















Further reading:







Daniel Schlusser: Official websiteReview: Alison Croggon on Peer Gynt (2009)Review: Alison Croggon on The Dollhouse (2011)

Six months into the pandemic, Team Witness meets online to chew the fat on art, life and making meaning now







In an age of pandemic, social isolation and increasing crisis, what does it mean to make live performance? What does it mean to critique it? Could the connections offered by art be the technology we need to combat disinformation and conspiracy theories? Robert Reid, Carissa Lee and Alison Croggon ask these questions and more. Produced by Ben Keene.















Further reading:







All the web’s a stage – Robert ReidNext Wave: Rest – Carissa LeeAbsurd pleasures: Caca-capitalismo – Olivia MuscatArt in a time of emergency – Alison Croggon

Ben Keene investigates how BLEED 2020 pivoted to existing entirely online after Covid-19 hit in March this year















What happens when you have to change everything? As the pandemic drags on through 2020, we’re all finding out







BLEED – a performance festival co-produced by Arts House in Melbourne and Sydney’s Campbelltown Arts Centre – was originally envisioned as a two-week event that explored the connections between digital life and the everyday, with a mixture of online and staged works. When Australian theatre went dark in March, plans that had been in train for more than a year had to be completely re-imagined.







For this Spotlight special, Witness podcast producer Ben Keene talks to Arts House artistic director Emily Sexton, radio artist and BLEED advisor Miyuki Jokiranta, Arts House associate producer Samira Farah and dancer and choreographer Angela Goh about how BLEED 2020 transformed from futuristic speculation into a meditation on the immediate present, and what the pandemic has meant for their work and their lives.







This Witness Performance podcast was commissioned by Arts House, City of Melbourne and Campbelltown Arts Centre and forms part of BLEED 2020, presented in partnership with Campbelltown Arts Centre.







BLEED is a biennial festival of live digital events curated by Arts House and Campbelltown Arts Centre from June 22 to August 30. Check out the program here.

‘You are asking someone from the field into the house, and we are going to fight. Because I will always fight to decentralise the white patriarchy’

Candy Bowers is an auteur – in her work, she is a playwright, producer, director, performer and an activist. In this wide-rangng conversation she talks to Alison Croggon about her hiphop show for young people, One the Bear. Co-written with her sister, composer Kim Busty Beatz Bowers, it’s latest in a long history of activist collaboration. Candy discusses her history as an independent activist theatre maker, and how she brings her vision of decolonisation to her audiences. “A lot of time in the theatre space it’s felt like war,” she says.  But, she tell us, things are changing.

One the Bear opens next week at Arts Centre Melbourne as part of the Big World Up Close series. Bookings

Further reading: Candy Bowers’ production of Susan Lori-Parks Fucking A

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