'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.'
www.ayoungertheatre.com/review-the-seven-ages-of-patience-kiln-theatre/
 
                                                        ***
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?'
www.ayoungertheatre.com/audience-and-performer-wheres-our-safe-space/

'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.'
www.nsdf.org.uk/noises-off/spaced-out