Journalism with purpose, in a life that rarely stays still
As a second year journalism student, I write about culture, performance and place through lived experience. My work sits with what remains after the experience itself; the questions, sensations and after effects that linger once the curtain falls, the gallery empties, or the credits roll.
I’m interested in how culture is felt rather than how it is scored, and in how access, context and mental health shape the way we encounter art. This is site is both a portfolio and a journal; a home for reflective cultural journalism, slow criticism and careful attention.
Selected Writing
These pieces return to performance, exhibitions, places and screen work after the initial moment has passed. They are not consumer guides or verdicts. Instead, they focus on impact, access and aftermath. What stayed, what shifted, and what still asks to be thought about.
Each Rewind Revue is grounded in clear positioning: how the work was encountered, under what conditions, and why that matters.
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The Producers and the Danger of Laughing Too Quickly
in ReviewsWhat happens when a musical moves so fast that laughter arrives before meaning? The Producers at the Garrick Theatre is explosive, technically accomplished, and deeply unsettling, inviting its audience into complicity before leaving them to question what they were so ready to enjoy.
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The Traitors On Stage and the Trouble With Murder Mysteries
in FeaturesAs The Traitors prepares to make the leap from television to the stage, the production faces a challenge few plays ever encounter: how to preserve secrecy, scale and suspense in a live medium, and whether the murder-mystery genre is ready to become dangerous again.
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Yerma, Watched From a Distance
in Rewind RevueSimon Stone’s adaptation of Yerma, encountered via Drama Online’s National Theatre Collection, remains devastating. Watched from a distance, it becomes a study in pressure, isolation and the slow unravelling of a life shaped by expectation.
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V&A Storehouse: A Museum That Trusts You
in FeaturesA visit to the V&A Storehouse reveals a museum designed for wandering, curiosity and access on your own terms. This is not a gallery that tells you what to think, but one that trusts visitors to look, linger and decide for themselves.
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Connection and Identity at the Painted Hall
in ReviewsInstalled inside the Painted Hall at the Old Royal Naval College, Connection and Identity promises a transformative encounter between heritage and contemporary art. In practice, Peter Walker’s exhibition struggles to compete with the scale and intensity of its setting.
Rewind Revue
These pieces return to performance, exhibitions, places and screen work after the initial moment has passed. They are not consumer guides or verdicts. Instead, they focus on impact, access and aftermath. What stayed, what shifted, and what still asks to be thought about.
Each Rewind Revue is grounded in clear positioning: how the work was encountered, under what conditions, and why that matters.
-
Yerma, Watched From a Distance
in Rewind RevueSimon Stone’s adaptation of Yerma, encountered via Drama Online’s National Theatre Collection, remains devastating. Watched from a distance, it becomes a study in pressure, isolation and the slow unravelling of a life shaped by expectation.
Why I Write
I write because silence has never saved anyone. I write to make sense of the world and to let other people feel less alone inside theirs. I grew up believing stories were entertainment. I now understand them as survival . a way to be seen, to be understood, and to keep going when everything feels like too much.
Colin Cushion 