Based in London
I write about theatre, film and London’s cultural spaces, focusing on what it feels like to be there.
What lingers after the final curtain matters. What stays with you, what doesn’t, and how that shapes the experience.
Alongside arts and culture, I write about mental health and lived experience, exploring the gap between how life appears and how it is actually lived.
Nearly twenty years after its premiere, War Horse remains one of Britain’s most extraordinary theatrical achievements. Through puppetry, suggestion and imagination, the National Theatre’s landmark production trusts its audience to complete the picture, creating a world that often feels more vivid than one rendered in full.
Sherlock Holmes at Regent’s Park Open Air Theatre completely pulled me in with magical surroundings, razor-sharp pacing and constantly inventive staging, before an ending that left me feeling like I’d somehow wandered into an entirely different mystery. These aren’t so much formal thoughts on the production as they are an attempt to process the experience…
Blackout: Ritual at The London Dungeon is a confident return to form, blending tighter storytelling with genuinely immersive, physical interaction. It’s not flawless, but it proves the attraction can deliver compelling after-hours experiences beyond Halloween.
From late arrivals to absent staff, the modern cinema quietly shifts responsibility onto the audience. But if the experience cannot be protected, what exactly are we paying for?
We say we need to talk about suicide more. But when we do, we soften it. This piece pushes back against that instinct, asking what gets lost when the truth is made easier to sit with.
Public space is not a stage, a living room, or an extension of your personality. Somewhere along the way, restraint was mistaken for weakness and consideration for inconvenience. This is not nostalgia. It is a refusal to indulge behaviour that makes shared life unbearable.
Colin Cushion 