Richard Watts

Richard Watts is ArtsHub's National Performing Arts Editor; he also presents the weekly program SmartArts on Three Triple R FM, and serves as the Chair of La Mama Theatre's volunteer Committee of Management. Richard is a life member of the Melbourne Queer Film Festival, and was awarded the status of Melbourne Fringe Living Legend in 2017. In 2020 he was awarded the Sidney Myer Performing Arts Awards' Facilitator's Prize. Most recently, Richard was presented with a Lifetime Achievement Award by the Green Room Awards Association in June 2021. Follow him on Twitter: @richardthewatts

Richard's Latest Articles

Features

Why is everyone doing Beckett?

Beckett’s plays are some of the toughest for audiences so why are they flavour of the month in Perth, Adelaide,…

News

The Giants take Perth by storm

An audience of 1.4 million flooded the streets for the opening event of Perth International Arts Festival.

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Not I, Footfalls, Rockaby

Three short plays by Samuel Beckett performed with remarkable fluency by Irish actor Lisa Dwan.

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Mozart Dances

This sublime work, choreographed by Mark Morris, was performed to a live score played by the West Australian Symphony Orchestra.

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The Rabbits

This opera for children tells a story of colonialism and survival, but lacks emotional heft and its score never fully…

Features

Tasmanian theatre revival bridges pro-am divide

The inaugural Tasmanian Theatre Awards, to be presented later this month, demonstrate the vitality of a sector structurally different from…

Features

Ten unmissable shows at Perth International Arts Festival

From dance and theatre to contemporary music and visual art, here are our picks of the shows to see at…

Career Advice

How to stand out at Fringe

With hundreds of other shows, and thousands of other artists to compete with at Fringe, how to lesser-known artists get…

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Jumpy

This contemporary take on the mid-life crisis needs stronger direction and a more nuanced lead to bring it to fuller…

Features

The pros and cons of profit share

It’s a common contract among indie theatre-makers, but the prevalence of profit share agreements also warrants some concern.

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