Richard Watts

Richard Watts OAM is ArtsHub's National Performing Arts Editor; he also presents the weekly program SmartArts on Three Triple R FM. Richard is a life member of the Melbourne Queer Film Festival, a Melbourne Fringe Festival Living Legend, and was awarded the Sidney Myer Performing Arts Awards' Facilitator's Prize in 2020. In 2021 he received a Lifetime Achievement Award from the Green Room Awards Association. Most recently, Richard received a Medal of the Order of Australia (OAM) in June 2024. Follow him on Twitter: @richardthewatts

Richard Watts's Latest Articles

News

Tweeting for tickets

Malthouse Theatre is offering social media addicts free tickets to a current production that celebrates and satirises YouTube.

Features

The essential skills of a great designer

Lighting, set and costume designers from around the country share insights into their craft.

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Toby Halligan: The Bad Gay

Queer comedian Toby Halligan prefers chess and politics to dating apps and the latest fashion.

News

Inspiring Australia’s new Hildegard

Musica Viva’s The Hildegard Project aims to counter the gender imbalance that sees men dominating composition in Australia.

Features

Naked theatre: impact versus exploitation

What are the ethics of simulated sex in the theatre, and how can directors ensure actors feel comfortable and secure…

News

Jobs lost at youth arts company

The tightening financial environment has forced Carclew in Adelaide to make several staff members redundant.

News

Circus Oz AD steps down after 17 years

Mike Finch has announced that he will finish up with the company at the end of June.

Features

Ten overlooked Australian plays (and why they’re important)

The launch of a new Script Club at Griffin highlights just how many plays in the Australian canon are now…

News

Bendigo poised for cultural boom

A new 1000-seat theatre is expected to have significant flow-on effects for the regional Victorian city’s arts ecology.

Features

Small cities constrain experimentation

Artists outside Melbourne and Sydney feel more pressure to play it safe while investing in educating audiences.

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