Welcome to the tenth of a series celebrating female colleagues who engage with theatre as critics, reviewers, bloggers or content creators. I am using ‘theatre’ to encompass all live arts performances, and ‘reviewer’ to cover all those who add commentary on what they see.
The master list is at: https://loureviews.blog/spotlight-on-female-theatre-reviewers-bloggers-critics-and-content-creators/
If you would like to be profiled as part of this project, please get in touch.
Today, I turn my attention to Georgina Monk of Culture’s Coffee.
Can you tell us a bit about yourself and how you came to be writing or creating content about theatre?
I graduated in English and Creative Writing and have been a playwright and content writer ever since. While at university, I became Deputy Editor of the university newspaper and took a particular interest in reviewing everything arty and creative. I joined the Belgrade Theatre’s Young Critics Scheme in 2018, and it all went from there, giving me opportunities to see lots of incredible theatre, explore backstage, and even interview actors and producers!
If you have your own platform, when did it start and how did you come up with the name? If you write for one or many platforms, which was the first and how did you become involved with it?
I created Culture’s Coffee in 2018, around the time that I joined the year-long Young Critics Scheme. However, I didn’t want to be restricted to writing only theatre reviews, so I chose to reference culture, which could encompass books, film, television, travel and lifestyle, rather than just theatre itself (although theatre is my blog’s main interest). I then thought that people could read my blog over their morning coffee, or check back every morning for updates, and so Culture’s Coffee was born! Interestingly, I don’t drink coffee!
What kind of shows do you cover, and in which geographical areas?
I am based in the Midlands, but try to catch shows wherever I go. I am up for watching just about anything, from drama and comedy to family shows, operas, and orchestral concerts! I love delving into as many genres and trying as many new types of shows as possible!
How would you describe yourself (reviewer, critic, content creator, YouTuber, influencer, other)?
I tend to opt for ‘reviewer’. I don’t like the negative implication of ‘critic’!
Why do you continue to engage with theatre?
I engage with theatre because it has been an escape from normal life for me, a mood-boosting and transformative art that makes me feel excited and at home. It has taught me new things about the world, helped me cope with bad experiences, and given me hope in a dark world. I also enjoy performing in amateur dramatics, so I like to keep in touch with the latest in the theatre world!
What’s the one thing that would make the theatre reviewing/content creating space easier for you personally, and/or for your platform?
I find that a lot of print publications are quite exclusive, and it can be difficult to get published in a magazine or newspaper. Not only this, but I wish that press tickets were not always based on how many followers you have on social media. I love creating content, but I have a love/hate relationship with the algorithm!
Additionally, I think that the reviewing world can be incredibly sexist and ageist, even if this is based on preconceptions and assumptions. That’s why I was particularly interested in this project.
Do you have a favourite show – and any you particularly dislike(d)?
My favourite play is Hedda Gabler. My favourite show, especially musical, is RENT or Hair, although I saw a production of Cabaret a few years ago that really stuck with me.
The theatre commentary space is wide and diverse – is there any other female reviewer/content creator you would recommend, and why?
I follow so many wonderful female reviewers and content creators that it’s hard to pick! I have recently discovered Kat Masterson’s account and really enjoy the mix of larger, London -based and regional productions.
What’s the biggest change you have noticed in the theatre space since you started contributing to it?
The biggest change is, sadly, audience etiquette. There are some shows where I can barely hear the actors amongst audience chatter. On the positive side, I think there’s a much wider variety of shows available, including those for and about underrepresented minority groups and LGBT+ audiences. The standard in family shows has also peaked, and there are so many thoughtful, colourful, and amazing productions for kids around.
And which social networks are you most active on? If you are not on any, what is your opinion of their place in theatre reviewing/content creation?
I have a Facebook and Instagram page for Culture’s Coffee, but I am mostly active on my Instagram account.
Can you pinpoint one of your best reviews, features, or videos?
I loved The BFG at the RSC this Christmas, and the review is one I am particularly proud of.
How can people contact you who want to promote a show?
They can contact me on my Instagram or Facebook account, Culture’s Coffee.
Thank you, Georgina!