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How House Plants Helped Me Through 2020
The Art of Writing an Arts Council England National Lottery Projects Grant Application
A Producing Manifesto
Tea with Jake: Furlough Edition
Surviving the Edinburgh Festival Fringe: How to Stay Healthy
Survival Tips for Producing at the Edinburgh Festival Fringe
What I Learned From Theatre Producing in 2016
London Doesn’t Need Anymore New Theatres
Theatre 2016 Conference and the Arts Council England – Accessibility for who?
Changes to the Grant for the Arts application form from Arts Council England: What you need to know
Seeking an Assistant Producer: Snuff Box Theatre
Advice For Independent Producers: When Loneliness Approaches
Being Gay and Finding Hope in Dance: Igor and Moreno’s A Room for All Our Tomorrows
Ai Weiwei at the Royal Academy: Freedom Through Art
Reading About Contemporary Art: Dialogues with Marchel Duchamp
Falling in Love with Theatre Companies: A Love Letter to Made in China
Reading About Contemporary Art: Grayson Perry’s Playing to the Gallery
Lessons Learned from the Edinburgh Festival Fringe
Edinburgh Fringe Festival 2015: Top Picks
Why Take Theatre to the Edinburgh Festival Fringe?
Edinburgh Festival Fringe: Talk with me over Tea
Men’s Mental Health: Watching Bryony Kimmings’ Fake It Til You Make It
Reading About Contemporary Art: Sarah Thornton’s 33 Artists in 3 Acts
Can Crowdfunding Become Addictive?
Soundscapes at the National Gallery: How do we hear art?
Battersea Arts Centre: At the heart of our community
Education and Engagement: Strangling Young People and the Arts
Theatre is not a club, so why do we make it feel that way?
Top 10 Theatre Moments of 2014: An Idiosyncratic View
Crowd Funding for the Arts: Being Personal, Developing Trust and Creating Visuals
Dancing with Strangers: Fierce Festival’s Slow Dance
A List of Theatre Festivals in the UK
Cultivating Future Audiences or Why I’m Becoming a Member of Barbican Centre
Art in a Vacuum: The Future of Arts Journalism
Review: Drawing The Line, Hampstead Theatre
Review: Operation Crucible, Finborough Theatre
Review: Stuart Semple’s Suspend Disbelief, Heritage Rooms
Review: The Light Princess, National Theatre
What is the Future of Theatre Criticism? A Hurtling Car-Crash
Review: Secret Theatre Show One, Lyric Hammersmith
Review: Wicked, Apollo Theatre
On Revealing Lyric Hammersmith’s Secret Theatre: Mark (Scrooge) Shenton
The Gap Between the Words I and Do: A speech for my sister’s wedding
Edinburgh Fringe Festival: Motherland, Vincent Dance Theatre
Edinburgh Fringe Festival: I Wish I Was Lonely, Chris Thorpe and Hannah Walker
Edinburgh International Festival: Embers, Pan Pan Theatre
Edinburgh International Festival: Eh Joe, Gate Theatre
Edinburgh Fringe Festival: For Their Own Good, Untied Artists
Edinburgh Fringe Festival: La Donna è Mobile, Remote Control Theatre
Edinburgh Fringe Review: Ours Was the Fen Country, Dan Canham
Edinburgh Fringe Review: Don Quijote, Tom Frankland
Edinburgh Fringe Festival: The Way You Tell Them, Rachel Mars
Edinburgh International Festival: Histoire d’Amour
Edinburgh Fringe Festival: The Man in the Moone, Rhum and Clay Theatre
Edinburgh Fringe Review: Globophobia, Dave Fargnoli and Lindsay Miller
Edinburgh Fringe Festival: Titus Andronicus, Smooth Faced Gentlemen
Edinburgh Fringe Festival: Freeze!, Nick Steur
Edinburgh Fringe Review: The Portrait Firm, Council of Handmade Crap
Edinburgh Fringe Festival: HeLa
Edinburgh Fringe Festival: Missing, Gecko Theatre
Edinburgh Fringe Festival: Lauder!, Teatr Hotel Malabar
Edinburgh International Festival: Hamlet, Wooster Group
Edinburgh Fringe Festival: Gym Party, Made In China
Edinburgh Fringe Festival: Solfatara, Atresbandes
Edinburgh Fringe Festival: Titus, MacRobert
Edinburgh Fringe Festival: The Various Lives of Infinite Nullity, Clout Theatre
Review: Circle Mirror Transformation, Royal Court Theatre
Some Thoughts: Big Mouth, Skagen Theatre at Soho Theatre
Review: Charlie and the Chocolate Factory, The New Musical
We Need Societal Culture to Change, Not Advocacy for Arts Funding
Fuelling Creativity: It Lives and Breathes in Everything
Review: Gutted, Stratford East
Review: Fräulein Julie, Barbican Theatre
Review: Table, National Theatre: The Shed
What is the Future of Digital for the Arts: Series 2 – 2013’s Strategies
What is the Future of Digital for the Arts: Series 1 – Understanding
What is the Purpose of Theatre? Who is it For?
Review: Tatty Tales, National Student Drama Festival
Review: Twelve Dancing Princesses, National Student Drama Festival
Theatre-Makers and Critics: Beyond the Press Night
Review: Steptoe and Son, Kneehigh Theatre
Review: Port, National Theatre
Review: The Captain of Köpenick, National Theatre
Review: Choir Girl, Adelaide Fringe Festival
Review: The Book of Loco, Adelaide Fringe Festival
Review: Insomnia Cat Came To Stay, Adelaide Fringe Festival
Review: Glory Dazed, Adelaide Fringe Festival
Review: The Blue Room, Adelaide Fringe Festival
Review: Angry Young Man, Adelaide Fringe Festival
Review: The Unstoppable, Unsung Story of Shaky M, Adelaide Fringe Festival
Review: One for the Ugly Girls, Adelaide Fringe Festival
Review: Breaker, Adelaide Fringe Festival
Review: …HIM, Adelaide Fringe Festival
Developing Critical Communities for Theatre Writing
Review: Perfectly Wasted, Downstage Theatre
Review: War Horse, New London Theatre
Discuss: Rest is Best
Review: Kooza, Cirque du Soleil
Review: Salad Days, Riverside Studios
Review: Viva Forever!
Review: Privates On Parade
Review: The Architects
Review: Beats, Kieran Hurley
Review: Constellations, Duke of York’s Theatre
Review: The Effect, Headlong Theatre
Review: As the Flames Rose we Danced to the Sirens, the Sirens – Sleepwalk Collective
Review: Khadija is 18, Finborough Theatre
Review: Nosferatu, TR Warszawa
Review: The Kingdom, Soho Theatre
Reacting to Contemporary Art: Tim Walker’s Story Teller at Somerset House
Review: London, Paines Plough
Review: Medea, Headlong Theatre
Review: The Tear Thief, Little Angel Theatre
How Do You Fail in the Arts?
On the Beauty of Theatre Brochures and Print Material
ScratchR – Battersea Arts Centre Launches An Online Scratch Platform
The digital home of Jake Orr
Arts Organisations and Twitter: Telling the stories
Review: A Progress, The Yard Theatre
Review: Gulliver’s Travels
Review: Mess, Traverse Theatre
Review: Songs of Lear, Summerhall
Review: After The Rainfall, Curious Directive
Review: Chapel Street
Review: Strong Arm
Review: William, Flanagan Collective
Review: 25: 13 Red, 12 Blue, Middle Child Theatre
Review: Waiting For Orestes: Electra, Kings Theatre
Review: And No More Shall We Part, Traverse Theatre
Review: Grit, Tortoise in a Nutshell Theatre Company
Review: Eurydice, UCLU Runaground
Review: Outland, Belt Up Theatre
Review: Botallack O’Clock, Third Man Theatre
Review: Puppet. Book of Splendor, neTTheatre
Review: Blink, Traverse Theatre
Review: Ceasarean Section. Essays on Suicide, Teatr Zar
Review: Don Quixote! Don Quixote!, Panta Rei Theatre Collective
Review: The Darkroom, Witness Theatre
Review: Ten Billion, Royal Court Theatre
Review: you’ll see [me sailing in antarctica], National Theatre
Review: Ganesh Versus the Third Reich, Stratford Circus
Review: 100% London, Hackney Empire
Review: The Dark Side of Love, Roundhouse
Review: Sluts of Sutton Drive, Finborough Theatre
Review: Motor Show, LIFT Festival
Review: Get Stuff Break Free, National Theatre
Review: Prometheus Awakes, Graeae
Review: Crow, The Borough Hall
Review: Gatz, Elevator Repair Service
Review: The Rest Is Silence, Dreamsthinkspeak
Speech: The Future of Theatre Lies in the Community
Review: Daybreak, Notion Theatre Company
Review: Something Very Far Away, Unicorn Theatre
Review: PULSE Festival 2012
Writing with Emotion and Death in Theatre
Review: The Suit, Peter Brook
Review: Three Kingdoms, Simon Stephens and Sebastian Nübling
Review: Make Better Please, Uninvited Guests
Should Arts Organisations Use Twitter?
