The 10 Commandments of the Successful Critic

15 Jun
Candle by clemetchene used under a Creative Commons License

Candle by clemetchene used under a Creative Commons License

1. I am the Editor, thy employer. Thou shalt turn up to the performance/show/film/gig that thou art reviewing on time, wherein thou shalt be able to arrive calm, content and able to review the piece in question.

2. Thou shalt research the work that thou art reviewing, be it the previous work of the performers/actors/director/writer, so that thou shalt know what thou is talking about, and won’t give the impression that thou art talking out of thy ass.

3. Thou shalt act as a respectable member of thy’s publication team when reviewing. This includes not overdoing it with the free alcohol and then embarrassing oneself because of said alcohol.

4. Thou shalt file copy on time and within the word limit.

5. Thou shalt not steal work from another writer, be they living or dead and pass it off as thine own. Plagiarism will be discovered, and thou will only set thyself back by ripping off the intellectual property of others.

6. Thou shalt be respectful to venue staff, including FOH staff, PR people and press officers.

7. Thou shalt write about more than the performance; thou shalt consider the cultural, political, social and historical context of a piece. Criticism must beyond the tired “It looked nice, it was acted well” narrative.

8. Thou shalt write with brevity and clarity; why write a 20 word filler sentence when a simple 10 words will do?

9. Thou shalt proofread thy’s own work before sending it to thou’s editor.

10. Thou shalt be prepared to listen to constructive criticism of thine work, and thou shalt take this criticism to heart.

Why Your EdFringe PR Campaign Sucks

3 Jun
Fringe Posters image by Daveybot, shared under a Creative Commons Licence

Fringe Posters image by Daveybot, shared under a Creative Commons Licence

If you’re a performer or part of a theatre company that’s handling your own PR campaign at the Edinburgh Fringe this year, perhaps for the first time, there are three things that form the basis of any Edinburgh Festival Fringe PR campaign; discipline, research and hard work. I know, that’s pretty obvious, but while the Edinburgh Fringe is presented as a fun and unmissable festival (it is) it’s also a bit like a sewer; what you get out of it depends on what you put into it.

But I’m Only at the Fringe for Three Days

Three days? That’s brilliant! Shorter runs at the Fringe are becoming quite popular for various reasons, and the length of your run doesn’t limit your PR campaign. Get in there early, contact journalists; send them an exclusive invite to your first show and promote the Hell out of it.

But I Want to Party Hard

While it may look like the Fringe is one big party, the reality is that the festival is hard work for everyone involved in the Fringe. For performers handling their own promotional material the Fringe presents an almost unique experience in terms of promotion. The Edinburgh Festival Fringe is one of the biggest, if not the biggest arts festival in the world; this year a record 2,871 shows will be performed by 24,107 artists in 273 venues across Edinburgh. The number of shows at this year’s Fringe has increased by 6.5% compared to last year. So, if you want to party, do it in moderation, you have a job to do.

But The Fringe is Too Big

As the Fringe grows, so do the opportunities for marketing a show and producing a strong and unforgettable Fringe PR campaign. A bigger Fringe means more journalists, more publications, more blogs, more audience members, more venues. It means more work to publicise a show successfully. It means that your Fringe PR campaign must be as important as all other Fringe preparation. Think about all the work you have put into your show so far: the planning, the auditions, the creating of sets, costumes, the booking of a venue, the organisation of Fringe accommodation. Why should PR take a back seat?

So, I Just Shout Loud Enough and I’ll Get Reviewed?

It’s often said that the person who shouts the loudest has the most influential voice in the room, but for the Fringe, and for wider PR, I would argue that having the right voice, rather than the loudest voice is more desirable to journalists. There is so much ‘noise’ generated by PRs and performers during the Fringe; journalists will be getting promotional messages fired at them daily, so, you have to find a way to make your voice more noticeable and most of all, more inviting to them.

How Do I Make My Voice Heard?

You need to target the right journalists, the right publications, and promote what it is about your show, your piece that will appeal to them. If your show is a political piece, are their journalists who specialise in reviewing and previewing political theatre? Is there a specific publication that tailors to your target audience? Make a list of your Unique Selling Points (USPs) such as, if this is your first year at the Fringe,  are you performing the world première of your show? What is it that you can offer journalists the competition can’t offer them? Why should they choose you over the thousands of other artists at the festival? Why do you want a journalist to review your show? Once you are clear about this, then you will find it easier to put together your PR campaign.

How Should I Submit My PR?

Once the PR is written and the right journalists have been identified, how will you submit your PR? Will you go for traditional mail if you have the publication’s address? It’s not as immediate as email, but some journalists prefer it. If you’re unsure, contact the journalist or publication and ask.

If you email it, do you attach it as a separate document, or copy and paste it into the body of the email? Personally, I prefer the copy and paste method, which means I’m not constantly downloading documents. Remember that it needs to be easy for a journalist to find your PR during the busy festival period, so use the show name, venue and company name in the subject line of your email – journalists, especially me and Thom Didbin from Annuals of Edinburgh Stage will thank you for doing this.

How will you begin your communication? A “Hello” is always nice. Seriously, say “Hi”, try to engage with the journalist – good PR is about building lasting relationships, if you get along with a journalist one year, they will remember you the next and might be more likely to see your shows in the future.

What About Social Media?

Social media now forms a pretty big part of any social media campaign, and so contacting journalists through this medium, in my opinion, is fine, you just to get your approach right. Start talking to the journalist before the start of the Fringe, build up a rapport; don’t be all promotional all the time. Simply tweeting a journalist you’ve never spoken to before and asking them to “Please RT” a promotional tweet about your show is lazy – talk to them, don’t just use them as a mouthpiece for your work.

Do Not Do Any Of These Things in Your PR Campaign

Below is a list of suggestions for things not to do when you’re handling your own PR campaign during the Fringe, outside of the Fringe and in general. Personalising your email goes a long, long way.

  1. Email a press release with the subject line ‘Press Release’
  2. Send out a mass email beginning with: ‘Dear EdFringe Reviewer/Promoter/Press Officer/VIP/Broadcaster/Supporter
  3. Send out an email the begins with “Dear Chesney” when the editor’s name is Bella
  4. Constantly email and phone the office of a magazine/newspaper demanding that they review your show
  5. Tweet the same invite verbatim to at least 25 reviewers or publications in a row
  6. Email the same PR multiple times
  7. Email an ‘extended’ PR which gives no new information
  8. Email a PR that gives the wrong start time/the wrong date/the wrong director/the wrong actor/the wrong venue
  9. Write a PR that starts with your star ratings and reviews
  10. Write a PR that uses lots and lots of different colours, fonts, sizes and is not clearly formatted
  11. Write a PR that doesn’t begin with a greeting, but ends with an email signature
  12. Not using bcc in marketing emails
  13. Get the publication name wrong
  14. Issue a demand, not an invitation
  15. Not say thank you to a reviewer or publication for a good review
  16. Send more than one press release per email
  17. Threaten to sue over a bad review - this will not work out well for anybody

Whether this is your first Fringe or your tenth, PR is an important part of your preparation and so, it’s important to keep on top of it, and don’t leave it to chance.

Have you got any advice for companies doing their own EdFringe PR? Get in touch and let me know.

Some Advice For Aspiring Writers

30 May
Typewriter Image by Higginskurt, used under a Creative Commons Licence.

Typewriter Image by Higginskurt, used under a Creative Commons Licence.

I have, on occasion, been asked for advice by a young writer looking to grow their career. However, I also am, in one form or another, a young writer looking for my so-called “big break”. I have asked established journalists questions about how they got to where they are, I have poured over countless YouTube videos of interviews with my favourite writers, looking for that one sentence that would transform me from mere aspiring writer, to professional, in-demand and well-respected behemoth of a writer.

As it turns out, there is no definite answer; everyone has a different story. Some writers trained in journalism, some have an undergraduate degree, maybe even a postgraduate degree. Others fell into journalism by chance, after doing a degree in English or another language, some got onto coveted training schemes and bagged promising apprenticeships. The lucky ones had a friend who was influential in the industry, and managed to get themselves a good job that way.

If I wasn’t watching YouTube videos, I spoke to just about every journalist I met. Almost everyone I spoke to had come into the industry differently, some said having a postgraduate degree in anything was a waste of time, while others said that they wouldn’t have gotten anywhere if it weren’t for their qualifications. During an internship in London, at least two of the journalists I was working with advised me without any irony or malice, that I shouldn’t try to get into get into journalism, because there were no jobs, and things were only going to get worse.

In short, every answer I got, while interesting, confused me more. Should I go to back to university? I don’t have the money to do that. Should I do an NCTJ course? Should I try to diversify and start adding more skills to my CV? All the options available were so overwhelming that I felt like I was going struggling up a spiral staircase; I was moving, I was heading towards some kind of goal, but I wasn’t going anywhere fast. It was frustrating, it was tiring, it was not helpful at all.

And this is my advice; if you want to be a writer, write. Write as often as you can during the day, write in the evening, and then write again the next morning. Set yourself a goal to get up in the morning and write a specific amount of words before lunch, then smash that number.

Don’t forget to read, a writer needs to read and remember how to get lost in the literary worlds that other authors create for them. Reading is a joy, reading should never be a chore, if you don’t read anything, then how can you expect anyone to read your work?

And finally, here’s my golden rule: don’t ask other writers for advice. I’m serious. Every writer has a different story; every writer has a distinct background and voice. Their past is not your future, so create your own career path and carve your own journey in stone. Don’t strive to be a second-rate version of your favourite writer, be a first-rate version of yourself. Don’t imitate, create and never be afraid of doing the things that your idols didn’t do.

Surviving Life After Graduation

21 May
Trash on Taylor Street, SF

Trash on Taylor Street, SF


It’s here, graduation, it’s what you’ve been working towards for a number of years and it’s finally time for you to step outside and view the world, not as a poor student, but as a poor graduate. May I be one of the first to say, congratulations, and don’t worry, it gets so much better.

Right now, you might be thinking about hiring your graduation gown and getting your sweaty hands on the piece of paper that is your degree, but this will not automatically change your view of the world. Don’t get me wrong, your graduation will be great fun, it should give you some great memories, but it’s what happens after your graduation that really matters, and here’s some advice to get you through the weeks, months, even years after this.

Don’t Compare Your Life to Anyone Else’s

This is the rule that I simply cannot stress enough; your life is your life, so quit comparing it to everyone else’s. When I graduated in 2009, which was a very tough year to graduate – especially with a drama degree – I felt like so many of my classmates were walking into great jobs. One person more or less walked into their dream job and had numerous other opportunities thrown at them, yet I was still working at my not-quite-minimum-wage-job in the fast food industry.

In short, I was barely out of my graduation robes and I already felt like a failure; I was intimidated by other people’s progress and envious of their success. When one former classmate moved to London, I was stunned, I couldn’t imagine leaving Edinburgh, let alone Scotland. But the path you go down isn’t the same path that your friends will tiptoe along, and no path is set, you can always change your direction, and you can always, always go back.

It’s OK to Not Have a Plan

You might be one of those people who has a plan, a plan that will not be changed, a plan that they have no intention of changing in any way shape or form. This is fine, but this is not the way that a lot of people work. You don’t always need a plan, you don’t always need something that you set stone; you need that spark, that flash of inspiration, the revelation that comes to you when you’re doing the washing up, the epiphany that emerges as you’re about to fall asleep. Whatever it is, write it down, don’t forget it, and see how you can make this new dream a reality.

Have Something Else To Do

By this, I mean have a hobby. If you’re trying to become a professional writer; write, read, but also have something to do on the days where you just can’t face sitting in front of the computer for another long and unproductive afternoon.

Get out the house; see family, see friends, go to the cinema, the museum, go for a long walk to nowhere and sit and gaze at the sunset. Cook, clean, learn to play a musical instrument, volunteer, head to the gym and work with the Iron, run with no destination in mind, do something that helps you remove yourself from your work so that it remains your goal, your dream, not an instrument of torture. Creating something, working towards your future and being artistic shouldn’t mean that you have to over work yourself; know when to give yourself a break, and know when you are burning out.

You Are Not Your Degree

If I had a penny for every time that I mentioned that I have a drama degree, and every time someone has asked me if I was an actor because of my degree, I would have a fair few pennies. Yet, I would still not be a rich woman. I work with a team of very, very talented people in my day job. One has a PhD, some have degrees in art, others have degrees in history, some are in really good local bands, yet, we work in online marketing, which, we’ll admit, was not part of our plan, but it’s where we are for now. Your degree doesn’t control you, it doesn’t bind you to a certain industry or job, and remember that it can only hold you back if you let it hold you back. Your degree is a small part of your life; that doesn’t mean that it is your life, and it doesn’t mean that it will be part of your future.

Never, Ever Let Anyone Make You Doubt Yourself

One of the biggest mistakes I ever made in the years after graduating was listening to the wrong people. At that time, there were people in my life that liked to remind me of my limitations, and in doing so, held me back.

For example, during a conversation with a former friend last year, I mooted the idea of moving away from Edinburgh, possibly Scotland, maybe even the UK, to find work, to travel, or just to start anew. This former friend then reminded me that I own a flat, that I was very lucky to own property, and that there were so many other people out there that wanted to get their feet on the property ladder, which wasn’t fair. I can’t remember what it was that they said exactly, but their argument was that because I owned property and because other people didn’t/couldn’t, then I should never, ever think about travelling, ever. I was made to feel guilty and selfish for committing the terrible crime of Expressing a Desire to Travel Whilst Owning a House at the Same Time.

There are many reasons why this way of thinking is completely wrong, but when I thought about the conversation later, I realised that this person was talking about themselves, “I don’t think you should travel”, “I want to buy a house, how can you be so selfish when you have something that I want?” Don’t get into this way of thinking, anything is possible, even if you own property, have a small family, or a well-paid job. Don’t let anyone tell you not to follow your dreams, don’t let others have too much say in your life, this is your time, be your own person, create your own adventure.

The Scaredy Cat’s Guide to Blogging

9 May
Photo by owenwbrown, used under a Creative Commons License

Photo by owenwbrown, used under a Creative Commons License

My Ultimate List of Fears [UPDATED]:

1. Heights

2. Bigger Heights

3. Flying Through Turbulence

4. Blogging

It took me three years longer than it should have to start blogging.

Let me explain; when I was at university, and training in arts journalism, the internet was still seen by many in the journalism industry as less of a standalone publisher, but more of a support to traditional printed journalism. By the time I graduated, it was becoming clear to many in the industry that online journalism had taken on a new dimension, and was seriously threatening traditional print journalism.

Back in those heady days of higher education, graduation and working in a job with no prospects and a weekly pay packet that paid just-above-minimum-wage-but-not-quite-enough-to-live-on, a lot of people I knew started to say things like, “You should have a blog. People like blogs.” I understood their reasoning; blogs would make my work more visible, a blog would give me an online presence, where I could write and hone my craft, and it might even get me noticed by some big time publisher/editor who’d send me an email starting with “Hey Kid, I like your style, here’s a writing job and a comfortable wage.” As if.

But for all the benefits of blogging; networking, work, the unreachable goals, I just couldn’t bring myself to do it. The thought of blogging led to questions, big, horrifying questions that I couldn’t answer. Every time I thought about blogging, a little voice in my head would raise all sorts of questions. What would I blog about? What if nobody read my blog? Which platform should I use? How would I design it? What will I say? What if everyone thinks I’m an idiot when they read my blog posts? What if I am an idiot? What if I’m a terrible, terrible writer?

These questions went on and on, terrifying me, putting me off blogging, and so, the little voice would fall silent, until I started thinking about blogging again. After all, who was I? I was a theatre critic, just another underpaid and undervalued arts journalist. Why would anybody take me seriously? Why would anybody want to read what I have to say? Why should I bother blogging when I can’t get regular and paid writing work anyway? Sometimes, I would be brave, I would make vague commitments to creating a blog, like the time I registered a domain that I ignored until it expired. I set up various Tumblr accounts and even a lonely Posterous account that I promptly forgot about. Then, last year, I decided the fear was holding me back; it was time to have a blog, at least to showcase my work, and use in job applications.

I set up my blog in April, but didn’t write my first post for a month. I was so overwhelmed in the beginning; I didn’t know what to say, and that little voice kept telling me I had no place blogging was sometimes unbearably loud. After that, I used my blog to republish my reviews from other websites. It wasn’t an impressive blog, so I fannied around with free WordPress themes to make it look better, and added new widgets, categories and tabs. But, I still felt like my blog wasn’t working, it didn’t inspire me and I knew I wanted to write about more than theatre. So, I did. I wrote about the government, I wrote about abortion, I wrote about libel, I wrote about pseudonyms, I discussed disappointment, I lamented the lack of money in journalism and rejection in the industry. As I wrote, I grew more confident and that little voice that liked to tell me that I had no right to publish my work online grew weaker.

It’s been just over a year since I started this blog, while it has been difficult at times, and I’ll admit that the little voice of doubt hasn’t gone completely, I’m glad I started blogging, I only wish I’d started earlier. I wish I’d known that blogging doesn’t have to be so scary, I wish I’d known that the only way to be comfortable blogging is to blog regularly.

If you’re thinking about blogging; don’t think about it, do it. The more you blog, the more you will find your voice, your angle and an audience. Listen to feedback – if you get it – but don’t be afraid to share your opinion, to keep writing, researching and finding stories that you want to write about. Your blog is your space, where you can express yourself freely, and conquer your little negative voice. My blog definitely helped me get over my fear of blogging, next up; I will conquer my fear of flying through turbulence. Maybe.

21 Things I Wish University Had Taught Me

29 Apr

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Graduation Cake by CarbonNYC - image used under a Creative Commons Licence.

Graduation Cake by CarbonNYC – image used under a Creative Commons Licence.

I learned a lot during my time in higher education; some of which I realised fairly quickly, however, other lessons took a little longer to work out.

Here are just some of them.

1. The nervous first year student at matriculation and the new graduate receiving their degree four years later will not be the same person.

2. You will have doubts about your course/life/direction/goals.

3. If you get through university and are able to look after yourself through cooking, general hygiene and handling money responsibly, then you will know more than a great number of people in the UK, and indeed, the world.

4. Your Student Loan will take a while to pay off, but you WILL pay it off.

5. You will make post-university plans that you won’t stick to, and this is ok.

6. You will not walk into your perfect job after graduating, this will take time.

7. It’s never too late to change your mind.

8. Don’t listen to other people when they tell you that you can’t do something, such as travelling or moving away. This is your life, live it your way.

9. You will have to take a job for the money, and not for the thrill of the job.

10. You will lose touch with friends from university; this is natural.

11. Find a good hobby; it will keep you occupied.

12. Change is normal, don’t fear it.

13. Find your comfort zone and destroy it. Comforts can only hold you back.

14. You might have to start all over again.

15. People change and outgrow each other, it’s painful, but it happens.

16. Never lose sight of your goals.

17. Do not be afraid to ask for help if you need it.

18. Take a risk, because failing at something is not the end of the world.

19. Jealousy does awful things to people; rise above it.

20. Know your worth; never undermine yourself or undervalue what you mean to others.

21. Don’t drink too much. Save your money and spend it on something more useful than a hangover.

Now Is The Spring Of Our Discontent

30 Mar

Iain "Ratbag" Duncan SmithSo, it’s Easter. Not that you’d know it, of course, because it’s been snowing for about two weeks and as of today some of the UK’s biggest supermarkets were reporting that they had run out of Easter Eggs. It’s also the start of Spring; the clocks have gone forward, and just about the worst thing that some of us can complain about are the fact that we’ve lost an hours sleep.

But from Monday, some of the poorest and most vulnerable people in the country are set to lose money and even their homes, as some of their vital benefits are cut. The “Bedroom Tax” as it as come to be known, means that people in social housing with empty bedrooms will have their housing benefit cut and could lose at least £14 a week, or £728 a year. Those with one spare bedroom will have their housing benefit cut by 14%, and those with two or more spare bedrooms will see their benefits cut by 25%. These drastic cuts are supposed to encourage people to move to much smaller properties, and save the government £480 million a year in housing benefit, according to David Cameron. In fact, the only good news to come out of this mess is the news that Iain Duncan Smith, the Work and Pensions Secretary and outright hypocrite, was called a “ratbag” by a protester in Edinburgh last week.

There are many problems with the Bedroom Tax or “Spare Room Subsidy” as the coalition government call it. Across the UK there is a shortage of social housing, specifically properties with one bedroom. This means that thousands of single people are already living in homes with more than one bedroom, because that’s all the council could give them. In fact, the National Housing Federation have stated that some 180,000 households are currently “under occupying two bedroom homes” in England. In Scotland, the Bedroom Tax is set to cost council and housing association tenants on housing benefit £5.3 million a year, and up to 95,000 people across the country will be affected by the new tax.

But this isn’t the only new cut to be enforced in April; the government have reformed the council tax system, the very safeguard that helps people who cannot afford to pay their council tax which is to be cut by 10%. The coalition government is also to transfer responsibility for the new system to local councils, who must decide whether to maintain the current levels of support, make cuts to support. Because of this 150,000 low-income households will have to pay £300 more a year.

And that’s not all. The coalition government have created a £500 a week  - that’s £26,000 a year – cap on benefits paid to an out of work family can claim in a year. This cap will be introduced in London from April and then enforced nationwide from September. The Children’s Society have warned that this could lead to 80,000 children being made homeless as their families are priced out of renting homes in the private sector. There’s also the 1% benefit cap increase, which is set to last until at least 2015/16, means that benefits will not rise with inflation. This means that those people receiving working-age benefits and working tax credits will suffer a 4% loss in their benefits, or to better illustrate it, 2.5 million households without someone in work will lose an average of £215 per year in 2015/16 and households with someone in work will lose an average of £165. For the countries poorest, and most vulnerable, including disabled people, this will mean that they will have to choose between heating their home and feeding themselves.

Elsewhere, Britain’s millionaires will receive a 5% decrease in their income tax. From the 6th of April the 1.5% of the population that make £150,000 a year will pay 45% tax on their income, instead of 50% meaning the 13,000 millionaires in the country will save an average of £100,769 a year.

Meanwhile the rising cost of living has seen hundreds of thousands of people turning to food banks across the country, as they can no longer afford to put food on the table. In the past year, the Trussell Trust, which operates the UK’s network of food banks, sent out 300,000 food parcels in the last year; double the figure they sent out the year before. There are more than 325 food banks in the UK.

Unsurprisingly, and thankfully, these changes which tax the poor and benefit the rich have been met with widespread condemnation. This weekend thousands of people protested against the bedroom tax, with 2,500 people turning up at a rally in Glasgow. Yet, in the face of universal criticism, and in the middle of one of the biggest celebrations in the Christian calendar, the former Archbishop of Canterbury, George Carey attacked the coalition government, not for their ongoing persecution of the poorest people in society, but for their “persecution” of the “Christian minority” because of the coalition government’s support of equal marriage.

Yes, a major figure in a religion which seemingly promotes supporting the vulnerable, the sick and the *poor used his position to protest the treatment of other Christians, and not his fellow-man, who has, one can argue faced a lot more persecution of late, and could do with a bit of a hand.

If this is Spring, if this is what is happening to the UK’s most vulnerable right now, with the weather and the economic forecast this bleak, then this Winter will be the UK’s darkest yet.

Don’t let the ratbags win.

*There are many. many quotes in the Bible about helping the poor, such as:

Deuteronomy 15:11

“There will always be poor people in the land. Therefore I command you to be open handed toward your brothers and toward the poor and needy in your land”

Psalm 82:3-4

“Defend the cause of the weak and fatherless; maintain the rights of the poor and oppressed. Rescue the weak and needy; deliver them from the hand of the wicked”

Proverbs 3:27-28

“Do not withhold good from those who deserve it, when it is in your power to act. Do not say to your neighbour, “Come back later; I’ll give it tomorrow” — when you now have it with you.”

The Great Pubic Hair Debate Or Hands Off Our Pubes

20 Mar

Lady GardenThis week, Independent Voices published a piece called ‘Debate: Is Pubic Hair a Feminist Issue?‘. The piece was, a follow-up to Louisa Saunders’ earlier article, ‘The Politics of Pubic Hair: Why Is a Generation Choosing to Go Bare Down There?‘ where Saunders attempted to discover why a generation of young women were choosing to shave their pubic hair. The article was sparked, in part by a night at the theatre watching her one of her daughters in a production of Eve Ensler’s The Vagina Monologues. During an interactive segment of the show, the audience were given a large piece of paper and encouraged to write what their vaginas would say if they could talk. Saunders, who was watching the piece with her younger daughter, admitted that she was “too British” to join in, that was, until she noted that a young woman had written “I need a shave.” Upon reading this, Saunders “snatched up a pen” and promptly responded with “No. You DON’T.”

Saunders impassioned defence of pubic hair is great, it’s honourable; but is it right to tell women what to do with their pubic hair? If a woman has a strong enough conviction to say: “I would quite like to shave my bikini line.” Should we automatically say, “No, you don’t”? No, and while Saunders refers to Ensler’s play throughout the article, the play itself talks about so much more than just bikini waxing. The Vagina Monologues is a play about acceptance, loving your body and most importantly celebrating the vagina. Yet Saunders picks just one monologue to support her argument saying: “Those familiar with The Vagina Monologues will remember that it contains an entire sequence concerning pubic hair. In it, a woman describes in eye-watering detail the painful process of removing her pubic hair at the request of a lover – the smarting, the soreness and the vague discomfort of trying to comply with the fetish of a sexual partner.” There are many monologues in the script; from the infamous Reclaiming Cunt where the writer strips the word back to its real meaning, to Because He Liked to Look At It, a piece which explores one woman becoming more accepting of her body through her partner’s desire to simply look at her, to the moving My Vagina Was My Village, which was compiled from interviews with survivors from Bosnian rape camps.

This is not to say that Saunders is wrong; she provides figures from a recent study at Indiana University that reveal that two-thirds of the 2451 students questioned in the female, aged 18-24 demographic, admitted to partially or completely removing their pubic hair in the month before the study. She also offers advice from Emily Gibson, director of the health centre at Western Washington University in the USA, who said in 2012 that [Pubic hair removal] “naturally irritates and inflames the hair follicles, leaving microscopic open wounds.” But it’s clear from Saunders’ article that she doesn’t believe women should tamper with their pubic hair too much, why then, should women not have the choice to change what they want, according to their personal preference?

If Ensler’s The Vagina Monologues was about celebrating the female body in all its forms, then feminism should be about celebrating every woman’s right to bodily autonomy. Of course, for some people, the very nature of changing your bikini line whether slightly or drastically, raises questions – why are more people – not just women – choosing to do this? Is it because of embarrassment? Are bikini waxes simply becoming more accessible and more affordable? Is it because people are becoming more influenced by what they see in pornography? Is this just how caring for the bikini line has evolved over the last century? Is it, perhaps because women are increasingly under pressure to remove their pubic hair because of their partner, friends or even society?

If this is true, and we feel that young people, particularly young women, are being forced to have their bikini lines waxed or shaved, and are even being told by their prospective partners that they should before they will sleep with them, as one Twitter alleged, then it’s not waxing and shaving that we have a problem with; it’s about the lack of bodily autonomy. If this is the reason, then we need to look at how to change this, how to let every person know they have a choice over what happens to their bodies, that they have the right to refuse, and others have to respect their wishes. Perhaps we’re all a little “too British” and we should talk about the subject of pubic hair more openly, and in a less judgemental way?

If a woman, or any person wants to do anything to their pubic hair, or anything else on their body, it should be up to them; this kind of decision should not be made under duress. But one thing is for a certain, many men and women trim, wax, shave or pluck their bikini lines of their own free will. But choosing to do so doesn’t it doesn’t make you any less of a feminist, or even a person. Deciding to take a razor to your pubic hair does not make you an enemy of the sisterhood, so as long as it was your choice to do it then why all the fuss? Surely, in 2013, it’s unreasonable to judge women, and in fact, any person by the modifications they make to their pubic hair?

So, ladies, gentlemen, if you’re happy trimming, waxing, shaving or leaving it well alone, keep on keeping on, your opinion is the only one that matters.

Trash On Disappointment

6 Mar
The Ultimate Disappointment

The Ultimate Disappointment

Remember when you were little and you were caught doing something you shouldn’t have been? Something so bad that your parents would shake their heads and say; “We’re not angry, we’re just very disappointed” and you felt completely and utterly crushed at the mere mention of the word ‘disappointment’? We all do, because that is probably one of the worst things a parent, guardian or someone in a position of authority or trust can say to another person: “I am disappointed in you.”

Of course, being disappointed is something that does still crop up in life; I was disappointed when my long-term relationship ended, I was disappointed when I found out how much post-graduate training costs, I was disappointed when I saw Indiana Jones and the Kingdom of the Crystal Skull. All these events were very disappointing, but nothing hurt more than those long hours I wasted watching that Indiana Jones sequel, where I spent almost the entire time in the cinema thinking: “Aliens! This had better not be about bloody aliens. OHGAWDIT’SABOUTALIENS.” It was so traumatic that I vowed then and there to never watch it again. I even considered trying to find somewhere I could hide, somewhere this terrible film wouldn’t be able find me. (I’m lying, of course, the breakup was the worst; when that happened, I felt like I was full of shattered glass; it coursed through my veins, cutting through me, every breath hurt, but I digress.)

In journalism, you must expect disappointment. You will not always get that interview you’ve been trying to secure for months, you might get passed over for a promotion, you might find that your work somehow gets published without your byline, and of course, you won’t always get to write about the things that you want to write about. You might get yourself an internship or secure a place of a work experience programme that doesn’t lead anywhere, but remember, it’s all part of the learning process. After I had a particularly disappointing internship last year, that turned out to not only be very expensive, but also pretty dull as the journalists there were reluctant to give me any work to do, a former friend of mine snapped, “Oh, you had one bad internship, get over it.”

As dismissive and as unhelpful as her remark was, it got me thinking about the nature of disappointment, especially in the journalism industry. Trying to avoid the inevitable crushing pain of disappointment is useless; it’s going to happen at some point in your journalism career, so learn to roll with the punches. A few months ago, I wrote about rejection in journalism, something which even the best journalists in the world admit happens to them too. Don’t simply attempt to get over it; get angry, channel that anger into something positive, there is no point bearing grudges against people or publications. Don’t waste your anger on others, they don’t deserve it. Use it to better yourself, and change your feelings of disappointment into something much more useful; belief.

Journalism is a competitive industry, an evolving industry, but one that has so much potential for the next generation of journalists.=, and there will be a place for you in it.

Believe in yourself. Don’t give up.

Critics and the Theatre Industry

2 Mar
Photo by Horia Varlan, shared under a Creative Commons licence

Photo by Horia Varlan, shared under a Creative Commons licence

The thing about being a theatre critic, or a critic of any art form, is that you can often feel like you’re standing in front of a locked door,  trying to find a way to get in. For example, you may give a show a very positive review only to have your work ignored by the PR team, who choose reviews from a bigger publication over yours. When you write for a smaller, or less established publication, you are the smallest fish in the biggest pond, a pond that only becomes more vast when thoughtless PRs make comments like: “Oh, glad you’re all here, but just to let you know we were really hoping for FAMOUS SUCCESSFUL CRITIC to come along.” And yes, this did happen to a friend of mine as they stood in the foyer of a theatre, with other local critics waiting to review a show.

Sometimes you’re popular; the phone never stops ringing, the emails never stop dropping into your inbox, and these emails are quickly joined by follow-up emails, checking that you received the first email. Sometimes your website crashes because of the sheer number of people trying to get on it to read reviews and get your email address to tell you about another show that you have to review. Other times, friends you haven’t seen or heard from for a while will leap out of the ether, inviting you to review their new show, saying, ” We must catch up, it’s been too long!” only for your enthusiastic response to go unnoticed; calls are missed, texts are forgotten, and back into the ether they go. You have no idea how much we critics suffer, I mean, really.

I’m being dramatic here, but the truth is, that being a critic can be a lonely existence sometimes; spending long nights in front of the computer, trying to write your seventh review of the day, is necessary, it’s what we signed up for when we took the first step on the broken cobbled road that leads to becoming a critic. But that doesn’t mean that these nights are easy, or enjoyable, and sometimes they can be pretty isolating – have you ever stayed up so late that nobody else seems to be on Twitter? It’s very odd.

While I can’t speak for other critics, I put everything I have at that moment into my reviews, but even then, I have off days. I’ve had days where summing up a simple synopsis takes too long, and days when my writing is so poor, and so utterly unreadable that I’m begging my editor for a late pass so I can attempt to completely rewrite the piece. I’ve had weeks when the prospect of writing another review fills me with dread, when writer’s block has had me staring at a blank word document wondering what the Hell I am doing and why on earth I keep doing this to myself.

I’ve had days when comments on my work have made me glad I chose this path, and days when a simple error on a review, or an omitted piece of information has The Reader completely doubting me, my work and my reasons for reviewing. As a reviewer you get used to the angry commenter’s cry of, “Oh, what do you know, you’re just a failed and bitter director/actor/producer/playwright.” Although, from experience, I’ve found the commenters that are the most vicious and the most personal in their insults of a critic are usually connected to the show that I’ve reviewed – whether they are directly involved with the show in some way, or they are related to someone in the production.

That is not to say critics are infallible, because no one is. It’s impossible to never make mistakes. Errors can range from spelling and grammatical errors, to factual howlers and even, wait for it, a lack of writing talent. Every critic has a different style; you get the A.A. Gills of the world who seem to delight taking cruel swipes at those in the spotlight (remember what he said about Professor Mary Beard?) There are others who specialise in schmoozing; the ‘Star Fuckers’, who slither up to actors and directors to tell them facetiously how wonderful they are, and how much they enjoyed their work, before desperately attempting to become part of their entourage. One of my biggest pet peeves is the critic who just wants to see shows for free, because for these critics, their writing is just an afterthought – these are the critics that give the rest of us a bad name. The ones that don’t fact check, make sweeping statements, offend the director and the actors with their poor words, the ones that arrive late to shows, the ones that are rude to press officers, PRs and FOH staff. I have no time for these people, and frankly, neither should anyone in the industry, this is not the way to move criticism forward.

So, this morning, I read, with interest, Jethro Compton’s Angry Young Man blog post, in which he argued passionately that the relationship between the media and the theatre industry must change, and I whole-heartedly agree. Although I believe that when Mr Compton refers to ‘Edinburgh’ in the post he means the Edinburgh Festival Fringe, and not just the city itself, and that being an unprofessional writer doesn’t automatically mean that you are a bad writer. I could be defined as not being professional, simply because I don’t get a regular income from my writing, something which my bank account likes to remind me. Yet, I would say that my writing style is more professional than amateur.

The theatre industry critics need each other in order to survive, and as a new generation of theatre makers and arts journalists are swelling the ranks on either side, we must come to a mutual understanding of our intertwined industries. Criticism, for me, comes out of my respect and love of the arts; I don’t want to see anyone fail, I simply want to see them creating pieces that they, and by extension, I, can be proud of.

I am an Angry Young Woman, and critics and theatre practitioners both work in industries where our errors, failures and other issues are played out in public, so let’s break down the barriers and smash open the locked doors that sit between us and let’s get the theatre industry and the press working together, so that we can all start yelling, and yelling together about the ongoing issues that affect the media and the arts.

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