Review: Panic, Barbican Pit Theatre

Written for Culture Wars Most people, when prescribed masturbation, simply get on with the job in hand. Not so Phelim McDermot, co-artistic ...

Review: Void Story, Soho Theatre

Written for What's on Stage After twenty-five years of fiery protest against narrative, fracturing and fragmenting it through repetition...

Review: Prototypes, Soho Theatre

Written for Culture Wars Few social groups receive such gentle stigmatization as railway enthusiasts. Stereotypically, they are white men in...

Review: Don John, BAC

Written for Culture Wars Such is the force of Emma Rice’s contempt for Mozart’s Don Giovanni – here rechristened Don John – that he almost b...

Once and For All We're Going to Tell You / That Night Follows Day

Rarely have two pieces of theatre existed so tightly entwined as That Night Follows Day and Once and For All We’re Going to Tell You Who We...

Review: Edward Gant's Amazing Feats of Loneliness, Soho Theatre

Written for Culture Wars Edward Gant’s a showman. (He wears a showman’s hat.) He tells cor-blimey stories and he lives, well, a nomadic exis...

Review: Inferno, Barbican Centre

Written for Culture Wars "The inferno of the living is not something that will be: if there is one. It is what is already there, the in...

SPILL festival

What with the launch of the SPILL festival last week, it seems appropriate to flag up the accompanying blog - SPILL: Overspill . Its the bra...

Review: Tabú, Camden Roundhouse

Written for Culture Wars Ensconced in the cavernous Roundhouse is a giant spider of scaffolding that resembles a big-top after an arson atta...

Support is critical

My latest post for the Guardian Blog - on the lack of support and opportunities available to young critics - has attracted some healthy deb...