The Daily Beast were kind enough to call me "a man with an encyclopedic knowledge of the city’s underground culture" and I have been editing/reviewing stage productions since 2010 for some of London's biggest websites covering theatre, opera, dance, cabaret, immersive and everything in between.
Twenty-eight years ago, The Ladyboys of Bangkok made a brief appearance at what was then the Queen's Theatre on Shaftesbury Avenue (now the Sondheim, which has committed itself to Les Misérables with a fervour that makes Swifties look fickle).
Putting on something which is so sexy, sensuous and deeply erotic in the middle of a heatwave could be asking for trouble, yet this production of Shakespeare’s Venus & Adonis justifies the gamble, turning the Barbican’s The Pit into a crucible of raw, mythological desire.
Mae West famously asked, 'Is that a gun in your pocket, or are you happy to see me?' Well, at the beginning of the relationship, he will no doubt be very happy to see you.
There is a moment, somewhere between the knife-thrower's insane grin and Brian the Goose making his entrance with the unruffled authority of a minor aristocrat, when you simply have to give in to the magic.
At this point in the history of humanity, a ballet translated from screen to stage or built around a real person is more likely to raise eyebrows than expectations.
With yet another highly-anticipated series of The Celebrity Traitors on the horizon, entire streaming channels dedicated to murder mysteries and absolutely no shortage of true crime podcasts (and TV shows about true crime podcasts), it appears we live in a nation completely insatiable when it comes
Given only the slightest of insights into what Christopher Nolan intended, Hans Zimmer set about creating a score for Interstellar that he would later call the best work of his career.
Eccentric artist Fenella Harford (Sylvestra Le Touzel) inherits her family’s stately home and uncovers a cache of hidden diaries that may rewrite its history.