Review: VesperTime, Chelsea Theatre
With VesperTime Stacy (or is it Tracy?) Makishi continues in her inimical style. She continues to be outrageous, to blend film, music, story and truth in what i...
Simon Holton
Review: Disabled Theatre, Dance Umbrella, Shaw Theatre
I’m thinking about disabled theatre. I’m thinking about disabled theatre criticism. I’m thinking about it in context of a show I saw recently, to which my first...
Review: Fierce Festival Weekend 2
Live art. Collision. Hyperlocal. Supernow. Whilst a part of me always wants to rebel against the possible inaccessibility and self-conscious coolness of Fierce ...
Review: Peer Gynt, Barbican Theatre
The opening image of Théâtre National de Nice’s production of Peer Gynt belies the uniqueness and downright bizarre nature of what is to follow. Downstage centr...
Review: The Eradication of Schizophrenia in Western Lapland, Shoreditch Town Hall
If the title is a mouthful, the show itself is a mindful. Commissioned by SICK! Festival Brighton, The Eradication of Schizophrenia in Western Lapland somewhat ...
Review: Rice, Sadler’s Well
"Rice" may seem an unusual title, and indeed topic, for a work of dance theatre. Yet even without the most perfunctory of research, it becomes clear that rice...
Simon Holton
Since returning to the UK after sojourns in the German-speaking world, Simon has plunged himself headfirst into the world of theatre, as both a creator and consumer. Actor-in-training and self-confessed Germanophile, Simon is pursuing diverse interests in experimental and fringe theatre.