I watched How to Get Filthy Rich by Gary Stevenson. Then I woke up the next morning and read a review of it. And it frustrated the heck out of me. Not because I thought the programme was beyond criticism, but because the review tapped into something I think about a lot: how we perceive authority, expertise and credibility, and how much those perceptions are shaped by class and the way people speak. In the past, I've often code-switched my accent depending on where I am. I've

This work emerged from a three-day residency focused on immersive theatre, presence, and audience encounter within The Shop of Mortals and All Fools. The residency offered time to learn and create within the space of the shop/stockroom. Risk was not something to be avoided, but something to work with. What are performers for anyway? One way of defining what we as performers do is to make ourselves vulnerable. In public, on stage - bearing everything. Easy, right? But even hum

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I think I have accidentally been making a bouffon show - not as a style, but as a way of seeing. It began with a salon that wouldn’t stay just a salon, and an attention that kept slipping sideways. Bouffon can sometimes be reduced to transgression as aesthetic. In those moments, the social perception layer risks disappearing. The focus shifts towards surface disruption: filth, irony, and shock, and in doing so it can lose something of its capacity to make an audience feel tru