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 Aliya Al-Hassan.
Can you tell us a bit about yourself and how you came to be writing or creating content about theatre?
I live in South West London with my husband and am an avid theatre fan. I also love cooking, travelling and languages. I was very involved with theatre at school, and so it was always something I wanted to work in, although I read English at university with Journalism electives. I first started writing reviews for my student newspaper, then went into television production for a few years, but always visiting the theatre and writing on the side.
After writing reviews for my student newspaper, I contacted a local magazine to see if they wanted local theatre content, and it went from there. I got more experience and contacts for shows and was able to put together a good portfolio. Now I am Senior Managing Editor at BroadwayWorld, Sub Editor for London Theatre magazine and also write for LondonTheatre.co.uk and WhatsOnStage.
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?
The first main site I wrote for was Musical Theatre Review, moving on to BroadwayWorld, London Theatre and WhatsOnStage, as well as the late and very much lamented Musicals Magazine.
What kind of shows do you cover, and in which geographical areas?
I cover most genres of theatre in and around London. I also love opera and will travel a little further afield for venues like Grange and Glyndebourne.
How would you describe yourself (reviewer, critic, content creator, YouTuber, influencer, other)?
Reviewer and editor.
Why do you continue to engage with theatre?
I never tire of the inventiveness of theatre, new theatre and old. I still get a real thrill when the lights first go down, that something magical may be about to happen. Theatre is a unique medium, a collective experience. You can’t press the pause button or rewind it – you have to experience it in the moment, and there’s little in the world where that exists anymore, except live sport.
What’s the one thing that would make the theatre reviewing/content creating space easier for you personally, and/or for your platform?
In an ideal world, I would personally like less reliance on advertising; I know that commercially it is essential for many sites and platforms to exist, but pop-ups are messy and so annoying!
Do you have a favourite show – and any you particularly dislike(d)?
I hate to say anything too negative about a show, even if it is very poor. I am always aware that no matter how it comes out, so many people have put their hearts and souls into the production. I never promote a negative review. My favourite show? That’s impossible in many ways. I think West Side Story is a work of musical genius, and I love most of the work by Peter Shaffer and Chris Bush.
The theatre commentary space is wide and diverse – is there any other female reviewer/content creator you would recommend, and why?
Well, LouReviews of course! I think Debbie Gilpin is always informed on BroadwayWorld and her own platform, Mind The Blog and Cindy Marcolina has a very discerning eye. Christiana Rose is excellent at reviewing children’s theatre, which I think is hugely underrepresented, and Clementine Scott is one to watch. Marianka Swain writes beautifully, and Olivia Rook is always entertaining.
What’s the biggest change you have noticed in the theatre space since you started contributing to it?
Mostly the financial changes. Producers are less willing to take risks than they were, as it’s so expensive to get a show on stage. Tickets have also gone up hugely, but it’s amazing what value you can get outside the West End if you know where to look. It’s also notable how many more female reviewers there are – when I started, the balance was very uneven.
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 an active observer, rather than a participant in social media. X was a brilliant platform for theatre, but now I avoid it like the plague, and I see many in the theatre world have done the same. I think overall, they are a great way for individuals to promote their work, but I wish we didn’t have to rely on them as much as we do.
Can you pinpoint one of your best reviews, features, or videos?
Not one of my best reviews, but I was quite pleased with how this one turned out:
Review: LEMONS LEMONS LEMONS LEMONS LEMONS, Harold Pinter Theatre broadwayworld.com
How can people contact you who want to promote a show?
Email me at: aliya@broadwayworld.com.