Writing. Huh. What is it good for.

It’s November. It’s Sunday morning and I’m in bed listening to the church bells, contemplating putting gloves on because really my flat is bloody cold and re-reading Shaun Tan when I should be writing. Though actually I am writing. Strike that. Reverse it. (Then get a copy of The Arrival, because it’s gorgeous and glorious … Continue reading Writing. Huh. What is it good for.


There’s a thing that happens on stage. In rooms. Not always. Not necessarily even often. But when it does; a performer trusts us, as an audience, with something of themselves. Sometimes it’s their body; the sight of it unhidden, unprotected, perhaps uncontextualised. They allow our eyes to crawl on their skin, to skitter across it … Continue reading Trust

American Psycho

Headlong’s long-anticipated American Psycho has not met with universal acclaim. Since the production’s announcement, and perhaps more so since the casting of Matt Smith, there has been an air of profound curiosity and mild foreboding confusion surrounding critical expectations. For most, some experience of a version of American Psycho has previously entered their cultural awareness; I … Continue reading American Psycho