I’ve written for The Independent, The Amsterdammer, Voice Magazine and the activist artist zine Cranberry Juice, and worked as contributing editor at STUCK Magazine. Articles I’ve ghostwritten have appeared in ICON and shots.
My original monologue, Mother’s Club, was recorded for The Orange Theatre Company’s Tiny Theatre podcast, and I was script editor for the short film Domestic by Jake Spence Barnes.
Reviews from the Edinburgh Festival Fringe
Brett Goldstein: What is Love Baby Don’t Hurt Me
Mark Watson: The Infinite Show
Eshaan Akbar: Prophet Like It’s Hot
Douglas Walker Presents: Of Christmas Past
The Girl Who Jumped Off The Hollywood Sign
Christian Finnegan: My Goodness
The Raymond & Mr. Timpkins Revue: Ham
Articles
Columns
‘Buy, Buy, Baby’: The Commercialisation of International Woman’s Day
The Paradox of the ‘Strong Female Lead’
Video Killed the Radio Star, but the Podcast is Having its Revenge
Goodbye and Good Riddance: Amsterdam Bans Scooters from Cycle Lanes
Is Ballet Viable? The State of the National Stage
DNB Positioning Ballet Conference: Within Wider Cultural Conversations
DNB Positioning Ballet Conference: Ballet’s Own #MeToo
DNB Positioning Ballet Conference: Accessible to Who?
DNB Positioning Ballet Conference: Behind the Velvet Curtain
Film + Theatre Reviews
The Modernity of Mary, Queen of Scots and the Fear of Powerful Women
From Ben is Back to Beautiful Boy: Why are Films Sticking to a Singular Addiction Narrative?
Eighth Grade: A Portrait of the Awkward Entrance into Teendom
The original monologue ‘Mother’s Club’ was written for The Orange Theatre Company’s podcast Tiny Theatre - Monologues Live! Written by Rebecca Took and performed by Midlands-based actor Amy Leigh Sandford, it is based on an interview with Philip Cook, a former bouncer of the legendary Birmingham nightclub. Listen Here.
STUCK Magazine is a Berlin-based magazine seeking to understand how and why artists create. With a focus on underground subcultures and alternative disciplines, STUCK is an independent print publication devoted to the experience of reading and digesting content, as opposed to the digitised media landscape of today.
During the pandemic, I was approached by the founders of STUCK to work with them as editorial staff for the magazine, editing pieces and conducting interviews. This relationship evolved into writing the editorial letter for subsequent issues.
