Published in Time Out October 22, 2019
We may need to eat to live, but food is rarely just fuel: it’s ritual, it’s celebration, it’s sex; a signifier of good or bad taste, status or aspiration, individual or national identity.
Continue reading “Review: Feast for the Eyes, Photographers’ Gallery”
Published in BBC Culture October 21, 2019
The backdrop to the portraits is Tahiti. The sitters are feminine, sensual, proffering ripe fruits and wearing flower garlands. The colours are bright: tropical yellows, hot pinks, mango orange and cobalt blue.
Continue reading “Gauguin’s ‘strange, beautiful and exploitative’ paintings”
Published in The Observer September 22, 2019
When published in Vigdis Hjorth’s native Norway in 2016, Will and Testament became both a bestseller and a literary scandal.
Continue reading “Review: Will and Testament, Vigdis Hjorth”
Published in The Independent September 6, 2019
You don’t need me to tell you that this is the “literary event of the year”. Thirty-four years after her seminal novel The Handmaid’s Tale, Margaret Atwood has published a sequel. It’s already shortlisted for the Booker Prize. Bookshops are staying open to midnight on release day.
Continue reading “Review: The Testaments, Margaret Atwood”
It all started here: one woman, on stage, telling a story. In 2013, Fleabag opened in a small, dank fringe space in Edinburgh, before Phoebe Waller-Bridge turned it into a beloved, era-defining TV comedy, the show that launched her career – and a thousand think pieces.
Continue reading “Review: Fleabag, Wyndham’s Theatre: It’s still brilliant”
Published in The FT August 22, 2019
“It is enough for us to state the simple fact; Orlando was a man till the age of 30; when he became a woman and has remained so ever since.” Virginia Woolf’s novel Orlando was published in 1928, yet contains an expression of gender fluidity that feels as fresh and matter of fact as if it were written today.
Continue reading “Why Virginia Woolf’s Orlando speaks to gender fluidity today”
Now in its 17th year, Green Man festival sold out again in record time. But it’s easy to see why revellers loyally return year after year – and it’s not just for the music. Set in one of the most beautiful festival sites in the UK, on the Glanusk estate in south Wales, its outdoor stages are framed by the Black Mountains.
Continue reading “Review: Green Man Festival”
Baby Reindeer ★★★★☆ / Sh!t Theatre Drink Rum with Expats ★★★★★ / Lucy McCormick: Post Popular ★★★★☆
Some acts defy whatever section of the fringe programme you put them in. Theatre? Comedy? Performance art? Who cares? This year, several performers who have long straddled such boundaries return to the fringe. And however you define them, they’ve got something serious to say.
Continue reading “Edinburgh Fringe 2019 review round-up”
Published in The Observer July 29, 2019
Nina Leger’s novella begins with a description of a woman taking a penis into her mouth: “She lets it grow heavy, take on warmth, breadth and shape… She moves away, and contemplates the erect penis.”
Continue reading “Review: The Collection by Nina Leger – unflustered accounts of sex”
Published in Exeunt July 29, 2020
There’s a scheme that asks you to programme three shows, and do two rounds of interviews, for the chance to be in a pool of potential assistant directors. One that asks for thousands of words pitching a pie-in-the-sky show, right down to the marketing strategy.
Continue reading “Are theatre’s schemes and awards deterring a new generation of talent?”