'Joseph is an increasingly rare critic in that he is genuinely interested in things that people are doing in theatre. Rather than just being interested in writing about those things [...] His skill and insight is absolutely first rate but it is this generosity of spirit, the desire to be of use to others that really marks Joseph out.'
-Alan Lane, Artistic Director of Slung Low
I have written for a range of online and print publications including Fest Mag, Exeunt, Noises Off, LondonTheatre1 and A Younger Theatre. In 2019, I was awarded the Harold Hobson Sunday Times Theatre Critic Award at the National Student Drama Festival.
I am keen to continue bridging the gap between critic and maker, and was delighted to be an Embedded Critic for Shrinking Violet's production of BARRY.
'It’s such a pleasure, in a theatre world which focuses so much on the final product, to witness work as its developing. I overhear in the room comments which reinforce the emphasis on trying things out. ‘This is all ideas’, ‘Give it a bash’, and ‘Let’s try it’ sum up the company’s attitude to giving it a go. There’s an openness to getting things wrong, something which has been an integral part of this show’s development process'
Full Article Available Here
Follow-Up Article Here
The Seven Ages of Patience at the Kiln is one of the most joyful examples of community theatre, and it was a total pleasure to write about it for A Younger Theatre:
'So much care has gone into this from the whole creative team, for a company, a community, who are clearly much loved by this space.'
Another interest of mine is the relationship between audiences and spaces: what different spaces can achieve; the notion of theatre as a "safe space"; the theatre as a temporary rural structure within an urban landscape.
'We talk of theatres as safe spaces, so do we need to spend a little more time caring for our audiences and thinking really carefully about how we’re asking them to consent to their participation?'
'The idea of the circular space somewhat removes hierarchy, compared to an end-on setup which puts a power emphasis on whoever is at the front.'