Welcome to the next in 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 Beatrice at Like Nobody’s Watching. This site specialises in reviewing dance and ballet.
Can you tell us a bit about yourself and how you came to be writing or creating content about theatre?
I’ve danced my whole life and really got into watching dance at university. I then went on to market ballet for six years, which only grew my passion for dance and led me to pursue dance reviewing.
However, this is a shrinking space in the print media world, so I set up my own platform to talk about dance in an accessible way to get more people watching it, after seeing firsthand how much of a struggle it can be.
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 set up my platform in May 2024. The name Like Nobody’s Watching is a riff on ‘dance like nobody’s watching’. This is both a reference to the fact that I review exclusively dance but also that the page is set up to get more people watching dance because not enough do! I believe that dance in the UK’s most hidden art form and want to change that.
What kind of shows do you cover, and in which geographical areas?
I cover dance shows of all forms, from ballet to hip-hop, mainly in London. However, I also run a listings page to help people find dance shows happening near them. This covers the entirety of the UK.
How would you describe yourself (reviewer, critic, content creator, YouTuber, influencer, other)?
I am foremost a critic, however, I also create additional content on Instagram and TikTok covering dance more generally, so I would also class myself as a content creator.
Why do you continue to engage with theatre?
Because I love it more than anything! I love the escapism of live dance: it’s a music gig and performance in one. Dance can be used for storytelling, to express a feeling or to transport audiences to a new place. And the skill of the performers is always spellbinding to watch.
What’s the one thing that would make the theatre reviewing/content creating space easier for you personally, and/or for your platform?
I mean, it would always help if it were easier to be discovered and I was less at the whim of a social media algorithm – so thank you for creating a place to profile us!
Do you have a favourite show – and any you particularly dislike(d)?
The ballet Mayerling has been a long-term favourite of mine. It covers the real-life psychological breakdown of Crown Prince Rudolf of Austria and his suicide pact with his teenage mistress. It’s a truly dark ballet and covers so many themes and topics that most people wouldn’t link to the art form (from sexual assault to drug use), as ballet is normally associated with lighter topics and fairy tale romances.
On top of that, it’s one of the only ballets with a male lead and a huge physical and emotional challenge for the main dancer; they hardly leave the stage and have to portray a wide emotional range. It’s a true test of the greatest dancers. The choreography, by Kenneth MacMillan, is also so well structured. It condenses a complicated story brilliantly and gives us a nuanced picture of who Rudolf was – all without any words being spoken. It’s a true masterpiece.
As for things I didn’t like, Christopher Wheeldon’s Like Water for Chocolate frustrated me so much I had a 40-minute rant loaded up and ready to go for weeks after opening night.
There had been a big buildup to the ballet’s premiere, and from the over-the-top romance to the lack of food in a story about food, it continually disappointed me. I had my head on the barrier of my box by the curtain call.
The theatre commentary space is wide and diverse – is there any other female reviewer/content creator you would recommend, and why?
I’ve been really loving the work of @miamillyy recently. She reviews theatre, and I think her videos are really engaging. And, being a dance critic, I of course have to shout out Cynthia Dragoni of The Dance Lens, who’s a real forerunner in the space.
What’s the biggest change you have noticed in the theatre space since you started contributing to it?
I’m not sure I’m big enough to have noticed a change, but having worked in theatre marketing for coming up 7 years, I’ve definitely noticed a positive shift in attitude towards theatre ‘influencers’ by marketing teams. Influencer marketing is very much part and parcel of theatre marketing strategies in a way it wasn’t in 2019.
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 am active on Instagram and TikTok, both under the username @_likenobodyswatching.
My website, where you can find my reviews, is likenobodyswatching.com.
Can you pinpoint one of your best reviews, features, or videos?
One of my favourite videos isn’t a review, but for anyone who wants to know what to expect seeing a ballet, I’d recommend my guide: https://www.instagram.com/p/DQHXzkACBmN/
My favourite review is probably this: https://www.likenobodyswatching.com/discover/turn-it-our-tiler-peck-2026
It is one of the most informal reviews one can read, but if there’s anything I aim to be, it’s to take the formality and gatekeeping out of dance. (The accompanying video review can be found here: https://www.instagram.com/p/DV3EMkDiIkc/)
How can people contact you who want to promote a show?
If someone wants to promote their show, they can find me at lnw.reviews@gmail.com.
Thank you, Beatrice!