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, it’s the turn of Kat Masterson at Theatre & Travel Reviews.
Can you tell us a bit about yourself and how you came to be writing or creating content about theatre?
My name is Kat, and I am a theatre content creator and reviewer based outside of London in Canterbury, Kent. My adoration for musicals and theatre came from years of watching Disney films and knowing a lot of the soundtracks by heart. I remember watching Mary Poppins and The Lion King on stage as a child and being in awe at how the set designers created these magical worlds.
Later in life, as a teenager, there was nothing I liked more than heading up to London to watch a matinee with my family. I was able to see Wicked, Legally Blonde and Shrek during the Summer holidays thanks to the brilliant 2 for 1 Kids Week scheme, which is still going today.
Skipping forward many years, when I moved to Canterbury after University, I remember being so thrilled that my local venue the Marlowe Theatre, had a young person’s ticket scheme. At the time, you could see a touring musical on a weeknight for as little as £10. I wrote a piece about it on my website, and the rest is history!
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’ve actually had a blog on and off since 2015, but it was 2020/2021 that was the real turning point for me. I dabbled in theatre writing in early 2020 and, after the pandemic, decided that I’d found my new niche. I rebuilt my website from scratch (I’m a website developer by day) and started writing lots more reviews.
Instagram was always something that I posted on, but I started making reels to go with my long-form content in 2022. Since then, I’ve even got into recording voiceovers and creating talking reels, which is something I thought I’d never do as an introvert!
What kind of shows do you cover, and in which geographical areas?
I mostly review in Kent, London and Edinburgh (during the Fringe), and the genres that I typically cover are musicals, plays, dance and opera.
How would you describe yourself (reviewer, critic, content creator, YouTuber, influencer, other)?
Reviewer and content creator.
Why do you continue to engage with theatre?
I am naturally quite an anxious person, but there is something about theatre that makes my brain switch off and just marvel at the creativity on stage. There’s nothing quite like watching an incredible narrative play out in front of your very eyes, live in a venue with so many other theatre fans.
What’s the one thing that would make the theatre reviewing/content creating space easier
for you personally, and/or for your platform?
I think it would be to allow critics and reviewers a little more time to process their thoughts after seeing a show. The reviews always seem to be live the next day after a press night, and as someone with a full-time job who does this in their spare time, it isn’t always achievable. I totally understand the short turnaround for touring theatre, as often a play or musical is only on for a few days, but if a show has a longer run, I like to spend longer putting together my reflections.
Do you have a favourite show – and any you particularly dislike(d)?
Come From Away for sure. I’ve seen it countless times, know most of the song lyrics, and every time I see it, I end up in tears. I’d love it to come back to London soon! Shows about human kindness are so heartfelt and uplifting.
I really wasn’t a fan of Greatest Days – The Take That Musical when it toured a few years ago. This surprised me as I really enjoy Take That’s music, but there was something about this show that just missed the mark for me.
The theatre commentary space is wide and diverse – is there any other female reviewer/content creator you would recommend, and why?
For video content, it has to be Rachel Reviewed, Connie (Connie and the Theatre) and the Seasons of Theatre (Antonia and Madison). I know these creators personally and always find their video reviews so engaging. They also manage to make their content funny and on trend too, which always makes me smile!
For written articles, it has to be Lisa in the Theatre, who covers lots of Scottish Theatre in and around Glasgow and Edinburgh. Lisa and I met through the Edinburgh Fringe, and I honestly don’t know anyone more dedicated to their website! Lisa sees lots of theatre and always writes about it so fairly and beautifully.
What’s the biggest change you have noticed in the theatre space since you started contributing to it?
Like everything, I believe the cost-of-living crisis and the soaring costs of putting on a show have really impacted the industry. Each year I cover festivals, I appreciate even more how expensive it is to present a show on the Fringe. For Edinburgh now, I try to interview lots of artists in the run-up, because I appreciate how much energy and commitment go into the process. I want to use my platform to help people get their stories out there, in a world where the arts are so underfunded.
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?
At the moment, I’m predominantly on Instagram and Facebook, sharing video reviews and carousels of my theatre trips. I’m sure I’ll finally venture into the world of TikTok either later this year or next, though.
Can you pinpoint one of your best reviews, features, or videos?
One of my most thorough articles is my ‘Ultimate guide to planning an Edinburgh Fringe trip’, which is also one of my most-viewed pieces. I worked on this with my Mum (who lived in Edinburgh and has been to Fringe multiple times) and fellow colleagues in the industry who know the festival well. It is really honest and transparent, especially with the rising costs of going to Edinburgh, and I hope a great starting point for anyone considering going.
In terms of interviews, there’s a piece that I arranged with Glasgow-based performer Alexander Tait back in 2024 that sticks with me to this day. Alexander was so open and raw in his answers about the incredibly topical Fringe-bound Kev Campbell Was He, that it ended up being one of my most popular pieces of the festival that year. Alexander’s Dad actually reached out to me personally about the piece, which was really lovely, and I ended up meeting the performer in person at the festival and hearing about the impact of the article on the show’s marketing.
How can people contact you who want to promote a show?
Either on Instagram direct message or via my public email address katrebeccamasterson@gmail.com. I’d love to hear from you!