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Clementine Scott - Page 3

Clementine (she/her) is an arts and culture writer and sub-editor. She began writing for BroadwayWorld in 2022 while studying Classics at Oxford, and feels privileged to cover theatre in London, especially theatre centring women's and queer experiences.


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Favorite Show
Sunday in the Park with George. No one quite articulates what it is to write and to create art quite like Sondheim does in this show.


Latest Articles

Review: TWO, Park Theatre

Review: TWO, Park Theatre

April 8, 2026

There is a moment in TWO where you could hear a pin drop: the affable 1980s soundtrack shuts off, and a glass shatters on the floor behind the bar.

Review: LIFELINE, Southwark Playhouse Elephant

Review: LIFELINE, Southwark Playhouse Elephant

April 3, 2026

Lifeline is the kind of play that feels as though it was composed with the help of a mindmap with one word circled in the centre, around which all parts of the drama must orbit.

Review: RUTH, Wilton's Music Hall

Review: RUTH, Wilton's Music Hall

March 20, 2026

In a staging device that feels made for the cavernous Wilton’s Music Hall, Bibi Simpson as convicted murderer Ruth Ellis addresses the audience with aristocratic authority, a tiny figure within an isolated prison cell.

Review: IRON FANTASY, Soho Theatre

Review: IRON FANTASY, Soho Theatre

March 12, 2026

In the much-cited 2014 book The Body Keeps the Score, the Dutch psychotherapist Bessel van der Kolk wrote of how the human body can be undone and rewired by traumatic experiences.

Review: TELL ME STRAIGHT and AGGY, Park Theatre

Review: TELL ME STRAIGHT and AGGY, Park Theatre

March 10, 2026

Park Theatre’s latest double bill presents two recent works from an emerging writer, both centring average queer London lives, and the lengths we’ll go to to present the versions of ourselves we want the world to see.

Review: THE COMFORT WOMAN, Omnibus Theatre

Review: THE COMFORT WOMAN, Omnibus Theatre

March 3, 2026

Somewhere between 20,000 and 300,000 women, mainly from the Korean Peninsula, were trafficked into sexual slavery by the Imperial Japanese Army before and during the Second World War: the so-called ‘comfort women’.

Review: BIRD GROVE, Hampstead Theatre

Review: BIRD GROVE, Hampstead Theatre

February 24, 2026

George Eliot’s Middlemarch was, and is, radical for its acknowledgement of how society places limits on even the most ambitious and idealistic of its inhabitants.

Review: MILES, Southwark Playhouse

Review: MILES, Southwark Playhouse

February 10, 2026

The opening tableau of Miles sticks in the mind: a man writhes atop a piano, as though something long-dormant within him is being woken up.

Review: THE RAT TRAP, Park Theatre

Review: THE RAT TRAP, Park Theatre

February 3, 2026

“Domestic matters are more your domain than mine,” a husband says to his wife in the middle of her working day, echoing a thousand gaslighting, supposedly liberal men who’ve come before and since.

Review: THE TEMPEST, Shakespeare’s Globe

Review: THE TEMPEST, Shakespeare’s Globe

January 31, 2026

The Tempest is perhaps the most metatheatrical of Shakespeare's plays: the plot takes place in real time, and Prospero asks the audience to “free” him with their applause.




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