Freelance writer and editor. Loves theatre almost as much as Doctor Who. Almost. (He/Him/His)

London
Just been to brilliant panel talk, ‘It’s Just a Stage - Writing for Queer Performance’, @CoastIQlitfest. Loved Charlie Josephine’s hope for future: “I would like shit-hot theatre made with kindness and curiosity, and for the buildings to take care of the humans making the art.”
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When someone you’ve known since sixth-form college leaves his role in Channel 4 soap ‘Hollyoaks’, publishes a memoir the next day and includes a story involving you… @GregorTheFinn
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And here’s my reunion with that t-shirt, 21 years later. 😂
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On Arthur’s Seat for the first time since my first anniversary of coming out, in August 2000. I was with cast-mates. We were on the cusp of everything. Or is that just how I remember it? A friend from that play has since died. I hadn’t expected to be emotional. But here we are.
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In Sam Wilson, Class 8C, @maybeulikeit have gifted us the spiritual heir to Adrian Mole for today. Writer-performer James Akka is utterly hilarious as the Power Point-presenting, wannabe Head Boy making his power grab in ‘Sorry (I Broke Your Arms and Legs)’ @pleasance.
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Giddy up to ‘All The Fraudulent Horse Girls’. It’s a bubble-gum pink, feverishly funny and queer-as-fuck tale of one girl’s love of horses against all odds. This fantastically imaginative show is eq-fiiine. ⭐️⭐️⭐️⭐️ for my imaginary publication. @CharlesQuittner @ThePleasance
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#lovebeyond by @RAWMaterialArts is a moving mood poem from the POV of a deaf man’s experience of dementia. Heartfelt performances are enhanced by tremendous, sometimes disorienting sound design and a set that mirrors the painful instability of memory.
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Just seen the extraordinary #sawdustsymphony @edfringe . Think Beckett meets woodwork. Circus and clowning brimming with the joy of creation but also with a darker, eerier edge. ⭐️⭐️⭐️⭐️ if I were officially reviewing. @ZOOvenues
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‘Finding is an act of faith, you once said in the woods. Should you be lost in the middle years ... the true fieres appear: able, sound, equally good.’ (Jackie Kay)
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This is 44, guys. In my head, of course, I’m still 25.
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4.I usually have to file a review between 9am and 10am the day after seeing a show.
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5.I will never knowingly review shows involving friends. It always feels awkward and a negative review has a guaranteed readership.
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This was lovely. ‘Operation Mincemeat’ won Best New Musical at this year’s Oliviers. Some view the theatre-maker/reviewer relationship as adversarial; actually, it’s a privilege to champion talent that, like here, we’re lucky enough to witness early in people’s careers.
Replying to @NatashaHodgson
I will never forget the work of @NatashaTripney, @stewartwpringle, @TomWicker (among others ofc) in their valiant efforts to get people to see our early stuff, it really did change the course of our lives- you made people come see us and it gave us confidence and hope x
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Thank you to @linuskarp, @JadeAnouka and John Moore for making this such a fascinating episode of @thepinkpodcast1 — and to @chloenelkin for trusting me with the mic! If anyone else is looking for an enthusiastic podcast host… 👋👋
Tune in to this week's episode of @thepinkpodcast1 to hear our amazing guest host @TomWicker chat to @linuskarp, @JadeAnouka, and John Moore about queer stories in the creative industries! 💖🏳️‍🌈open.spotify.com/episode/5og…
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🏳️‍🌈Join us for the next episode of 𝐓𝐡𝐞 𝐏𝐢𝐧𝐤 𝐏𝐨𝐝𝐜𝐚𝐬𝐭, hosted by @TomWicker, dropping THIS WED. Tom has written extensively on current affairs for national papers, leading e-zines & reviewed plays for @TimeOutLondon @TheStage & @Telegraph. 🎙 bit.ly/thepinkpodcast
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