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 Mia Hassan at The Musings of Mia.
Can you tell us a bit about yourself and how you came to be writing or creating content about theatre?
I’m Mia, a 23-year-old woman born and raised in South East London. I am of mixed heritage – half English and half Turkish Cypriot. I graduated from the University of Leeds with an English Literature and Theatre Studies degree, which is where I started my blog! I found writing about the specific dramatic elements of theatre productions and analysing a playwright’s creative decisions so fun, and craved a non-academic outlet to do this as a hobby.
So, I became a theatre reviewer for The Gryphon (Uni of Leeds newspaper), and wrote about all the fantastic shows that different university societies put on, and also critiqued wider Leeds performances like Beautiful Thing at Leeds Playhouse.
In the back of my mind, though, I knew I would be leaving Leeds at some point and wanted a platform to continue reviewing in London – this is when I started my blog, and here we are 3 years later!
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 have a WordPress blog called The Musings of Mia, which I began in 2023, just before I started my final year of uni. How I came up with the name isn’t very glamorous; I just knew I wanted some alliteration and a word that accurately showcased what I wanted this space to be – reflective, analytical, and thoughtful. In hindsight, now having seen some of the wonderfully punny and effortlessly clear names of other platforms in the reviewing world, I maybe should’ve put some more thought into it…
What kind of shows do you cover, and in which geographical areas?
I mainly cover small productions that are made by and for marginalised groups, including Global Majority-made theatre, queer theatre, and feminist productions. This is the theatre I seem to naturally gravitate towards, and I am truly grateful that such theatre-makers trust me to review their shows. I now only cover London, but in the past have covered Leeds and Manchester.
How would you describe yourself (reviewer, critic, content creator, YouTuber, influencer, other)?
I would say I flit between the labels reviewer and critic. I think my writing aligns more with that of a critic, as, coming from an academic theatrical background, I like to comprehensively analyse each element of the piece individually, alongside dissecting its cultural context and holistic success as a performance. But I do call my writings ‘reviews’ as my personal opinion does inform my writing, and there is often an informal aspect to it, like small jokes and personal anecdotes here and there. So I guess I am both?
Why do you continue to engage with theatre?
I continue to engage with theatre as, now having experience onstage, backstage, and as a reviewer, I have an enormous amount of respect for the creativity, the work, the passion, and the love that gets imbued into every theatre production. I adore how politically potent and socially aware pieces can be and how much positive change can be enacted through such a creative medium. The live experience of theatre is also so incredibly magical. Although I love literature and film too, the feeling in the air of a venue during a performance is unrivalled. There are so many individual reasons for my continued engagement with theatre, but they all come back to the fact I simply love it.
What’s the one thing that would make the theatre reviewing/content creating space easier for you personally, and/or for your platform?
The one thing I always struggle with is being given a singular press ticket. I completely understand why this is – I am one person doing a review, why would I need two tickets? But, unfortunately, as a woman, I don’t feel safe enough travelling back home from Central London in the dark after an evening show.
Now, is this a theatre problem? No, it’s obviously a much wider issue. But running my blog for free and paying out of pocket for an extra ticket adds up, just to guarantee my safety. Now, if you were to take a look at my platform, you might notice that of late, there are fewer theatre reviews than usual, and that is partly due to this very problem. If I could monetise my content, I would have no issue paying for that extra ticket, but that is not possible right now.
I would love a space where solo female theatre critics can coordinate days they are reviewing a show, meet up and travel part of the way home together! Making friends with like-minded people whilst alleviating the cost of the safety aspect of being a female reviewer/critic – sounds perfect to me!
Do you have a favourite show – and any you particularly dislike(d)?
I didn’t review it as I watched it when I was younger, but Lungs by Duncan Macmillan, performed by Matt Smith and Claire Foy at the Old Vic in 2019. Two of my favourite actors in one of my favourite venues?! For me, it was life-changing, and something my mind always goes back to when people talk about having children and what that looks like in such a turbulent, uncertain world. I would encourage anyone, child-free or not, to read or see this play if you can!
When it comes to dislikes, I would say I can always find something about a theatre show to like! The only show that didn’t meet my expectations was one of the most hyped up musicals in the West End – The Lion King. Whilst I was blown away by the spectacle of the opening, it was very lacklustre from there on out. I was disappointed with the rest of the show, and I think such a fantastic opener really sets a high standard that is impossible to maintain throughout.
The theatre commentary space is wide and diverse – is there any other female reviewer/content creator you would recommend, and why?
One well-known theatre critic I would always recommend is the Guardian’s own Arifa Akbar. I am heavily inspired by her work and find her reviews genuinely captivating. I marvel at the sheer professionalism of her writing and how she always seems to find the exact perfect word for what she has witnessed. I once tweeted asking how reviewers legibly write their notes in the dark during theatre shows, and she replied by explaining her process and her shorthand method, which I am just in awe of!
Adventures in Theatreland is also a reviewer I follow and read a lot from. When Vicky writes, I am transported to the venue and feel as though I am sitting there myself! I really enjoy reading her reviews and am so inspired by how brilliantly she has built the platform. Her writing style is so engaging, and I would recommend anybody reading this to check her content out.
What’s the biggest change you have noticed in the theatre space since you started contributing to it?
As I only started actively contributing a few years ago, I can’t say there have been many drastic changes. I think those reviewing for a longer time will have a more accurate perspective and experience of any massive developments.
But I have two little changes that I have noticed and think are pertinent to touch on: recently, I have seen a lot more theatres offering more accessibly priced tickets, particularly creating schemes for young people to enjoy the theatre at reasonable prices. I am so passionate about young people, especially those from lower-income backgrounds, having access to the theatre, so I love seeing such schemes available, and I try to take full advantage of brilliant initiatives like these whilst I can.
In terms of reviewing, I have noticed some people have stopped using a star system rating. This may be because it does not accurately reflect their thoughts, or they think it reduces such complex art to a simple number. I think it is great to keep adapting and considering new approaches to reviewing theatre as it keeps it fresh, fun, and relevant. That said, I personally will still be using it. Individuality is more important now than ever in our age of AI, so I embrace all new and old and quirky and unique forms of reviewing!
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 the one social media I am most active on. I often post stories regarding all things literature and theatre, and share photos of the venues I have been to watch shows. It has really helped me to find my audience and promote my content, and I personally think it is the best platform for connecting with like-minded creators and engaging with community spaces. I used to have a professional Twitter account, but its change to X really put me off, so you can only find me on Instagram for the time being!
Can you pinpoint one of your best reviews, features, or videos?
I would like to think I am getting better each time I write, learning from each review and developing as I go. Therefore, I would say my best review is my most recent theatre piece, Venus In Fur at Camden People’s Theatre – the words just seemed to flow and aptly capture the sultry performance and erotic tension.
I have had a past tendency to ramble and over-elaborate on things, but this review felt the most polished so far. I am quite proud of it! But, I think my favourite review is my write-up of Burnt at The Stake, or The Whole Truth at the Globe. The amazing Hannah Khalil invited me along, and I was the only press at the one-night-only performance, which was genuinely such a pinch-me moment. It was an incredible night of resistance, hope, and love, and I still feel so tremendously grateful that I got to witness and review such a work of art.
How can people contact you who want to promote a show?
You can contact me via my email address themusingsofmia@outlook.com and through Instagram DMs @themusingsofmia – I look forward to reviewing more fantastic shows in 2026 and beyond!
Thanks, Mia!