Matt Boothman

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Matt Boothman

Matt has been reviewing theatre in London and the South East since June 2008. He may look like an old-guard establishment critic (white and male, that is) but don't hold his ethnicity against him - he's young and tech literate, and tries hard not to be middle class all the time...

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Rotating in a Room of Images

In Rotating in a Room of Images, participants spend the majority of the 15-minute production in pitch darkness, guided only by invisible hands and the spooky voice in the headphones.

Wondermart

Wondermart continues Rotozaza’s work with audio-instructed performance and develops the site-specific element introduced in Etiquette.

Tunnel 228

Tunnel 228 isn’t meant to be found (i.e. stumbled upon at random); you’re meant to find it (i.e. actively seek it out).

The Contingency Plan

If anthropogenic climate change is the greatest challenge currently facing mankind, then right now Steve Waters’ The Contingency Plan at the Bush Theatre is the most important artwork in the country.

A Place at the Table

A Place at the Table has a couple of rock-solid concepts – the subject matter and staging – at its heart, but glommed around them is a mass of shiny little distractions that serve only to obscure the truths verbatim theatre is supposed to expose.

Death and the King’s Horseman

Though Death and the King’s Horseman was programmed well before England People Very Nice opened and the accusations began, in context it feels like a comforting reassurance that the National Theatre does not condone racism.

Forest Fringe at the BAC

The Forest Fringe is set to challenge every convention in sight, from the role of the audience right up to what we can comfortably classify as theatre.

Stovepipe

It’s all too easy to remain detached from the subject of Iraq. Stovepipe aims to pick us up off the sidelines and deposit us bodily into the midst of the relief effort.

This Isn’t Romance

Incest is a theme that can’t help but eclipse all others in its power to raise a reaction. This play is going to offend some people – and isn’t that the litmus test for vital art?

Up … Up … and A Play!

The Gate Theatre is thirty years old this year, and they’ve been involving their fans in the celebrations…Taking part in the exhibition engenders a strange feeling of connectedness.

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