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 Jude Gair-Ah Siu. Jude has recently returned to New Zealand after spending an extended period in London.
Can you tell us a bit about yourself and how you came to be writing or creating content about theatre?
I was born and raised in Aotearoa, New Zealand, but I grew up with a strong desire to explore more of the world, so, post-COVID, I moved to Paris, France.
Only two hours from London, I spent so much time travelling on the Eurostar to see shows in the West End that my friends would joke that I practically lived there. Eventually, I made the official move to London, drawn to one of the world’s most well-known cultural hubs for theatre.
I always say I ‘fell’ into writing and creating theatre content. My dance teacher knew my passion for musical theatre and my background in writing, so she tagged me in an Instagram post of a platform looking for writers. I emailed, and before I knew it, I was a theatre reviewer, and I have never looked back.
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 began my own platform in May 2025, almost a year ago! How time has flown by. There really is no special story behind the name; it is just my name. For anyone curious (because I get this question a lot), it is Scottish, Chinese and Samoan.
I first began writing for Sounds and Stage, and I became involved with the platform simply via an Instagram post! The power of social media! I also blogged for two other platforms during my time in London.
What kind of shows do you cover, and in which geographical areas?
I cover a myriad of shows. I like to take any opportunity that comes to me and cover a wide range of productions for my audiences and to expand my own viewership. However, my preference is musical theatre, so my coverage leans towards that.
While I began coverage in London, I moved back to Aotearoa, New Zealand, at the end of 2025. So, I now cover shows in Tāmaki Makaurau, Auckland.
How would you describe yourself (reviewer, critic, content creator, YouTuber, influencer, other)?
Honestly, I have been struggling to pick a title that encapsulates what this entails. Most of the time, I say theatre press/content producer.
Why do you continue to engage with theatre?
Why would I not? Theatre has been a part of my life for as long as I can remember – from performing to reviewing. The live magic, the ability to transport, the feeling of being seen and the act of shared empathy with the rest of the audience is a unique experience that I am always searching for.
Moving back home, I did believe my time reviewing was done, but I am so grateful to have been connected to the industry here so that I can continue sharing the pure joy and exceptional talent humans possess.
What’s the one thing that would make the theatre reviewing/content creating space easier for you personally, and/or for your platform?
Fair remuneration/compensation. It is a complex, nuanced and ongoing discussion that occurs in quiet corridors or private DMs. I know many of us struggle with not being paid for the hours upon hours we put into this.
Do not get me wrong, I am so grateful for all the opportunities that have come my way from this. Most of us are driven by our passion for the arts, but I am a believer in the fact that reviewing/content creating, or any work for that matter, should be viewed as a professional endeavour that can generate a livelihood.
Do you have a favourite show – and any you particularly dislike(d)?
Of all time, it is Wicked, hands down. It was the moment I fell in love with musical theatre, sitting in the stalls of The Civic in Auckland, in awe watching Elphaba fly. Hadestown blew me away as an unexpected favourite when I saw it for the first of many times, in the West End.
The theatre commentary space is wide and diverse – is there any other female reviewer/content creator you would recommend, and why?
Zoe at Stage to Page became a mentor of sorts, especially when I began writing for her platform. She is the epitome of resilience in this industry.
Tab in the City was a wonderful influence; in fact, she was the one who was constantly encouraging me to start my own platform. She believed in me before I did, and I am eternally grateful.
Also have to give some love to Emma’s Theatrics. My first friend in the industry! My go-to gal for me to stay connected to what is happening in the London industry.
What’s the biggest change you have noticed in the theatre space since you started contributing to it?
A lot more reviewers are starting their independent platforms! Quite a few of my friends have their own platforms now. It is amazing to see how many people are joining this industry and are in control of the content they get to produce.
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?
Instagram is my main platform for promoting productions. I post in real time there (I am known for being the fastest poster, you will see me in my theatre seat with Instagram open before, during intermission and as we are walking out).
My full reviews are posted on my website, and TikTok/Reels house my video review/promo that will come out a day or so after.
Can you pinpoint one of your best reviews, features, or videos?
Oh, that is a hard one. In terms of analytics, the Hadestown Pro Shot bow video performed the best on TikTok with over 44K views.
The project I am most proud of, though, was the press rehearsal for Aimie Atkinson’s Queen album launch, in which I turned out to practically be the only press in attendance. Knowing you’re about to walk into the room with talent you admire always comes with nervous excitement; no matter how many times I do it, it was even stronger with being the only one there.
If you have had the pleasure of meeting Aimie before, you’ll know she is one of the kindest, sweetest and most down-to-earth people, and she instantly put me at ease. I felt like I was at my own private Daisy Jones & the Six rehearsal; our five-minute interview ended up extended to twenty as we bonded over our love of books, and I was grateful to be invited to watch the remainder of the hours-long rehearsal.
The freedom of creativity I got to have on that project was special. It is truly is a core memory.
How can people contact you who want to promote a show?
judegairahsiu@gmail.com is the best option. I am also open to DMs on Instagram or the form on my website.
Thank you, Jude!