Behind the Curtains

The Kael Report began as a blog in 2024 — an experiment, really. I was curious to see whether readers would be interested in long-form writing about theatre in London and New York by someone with more than a passing knowledge of the subject.

I began working in theatre as a teenager, making my professional stage debut as an actor. From there, I embarked on a magical journey through the arts — performing in the West End, at the National Theatre, in regional theatre, on the Fringe, and in the US.

While working as a performer, I had a side-hustle — as most performers do, to keep the wolves from the door: freelancing as a journalist and contributing to publications such as The Guardian and Attitude. That dual life gave me a practical understanding of both the creative and critical worlds.

Today, I serve on the boards of three arts organisations and am the former CEO of Stage Directors U.K., which I led through its transformation into a trade union. All of which is to say that, although my views are inevitably subjective, they are informed by sustained, hands-on experience.

Throughout my career — first as an actor, then as a writer, director, and producer — I often asked myself: what qualifications do those writing about my work have beyond a degree in English? In some cases British theatre writers rely more on an Oxbridge pedigree than on practical theatrical experience or genuine understanding; in the US their counterparts often hail from the Ivy League.

This realisation helped me to view criticism — both good and bad — with a generous pinch of salt. My work was rarely critiqued by peers or by those with genuine artistic rigour; more often it was judged by people who wouldn’t know stage left from a hangover.

Today we also have so-called “influencers” and bloggers making pronouncements on theatre. Again I ask: what qualifies them — beyond having appeared in a high school production or two?

Of course it isn’t impossible to be an excellent writer on the arts without being an artist. Pauline Kael, after whom The Kael Report is named, never made a film, yet she was one of the greatest writers ever to cover the medium.

What set Kael apart was her deep understanding of cinematic storytelling, her incisive observations, wit, fearlessness, and genuine fondness for the form. She elevated the discourse — and even when I disagreed with her, I always understood her position. Her work still makes me think.

The Kael Report does not give stars, nor will it ever. The star system works for The Michelin Guide because it has a clear and specific definition of what those stars represent. In general, however, it is a lazy and inconsistent way to discuss the arts — after all, what is the real difference between a three- and a four-star production?

The Kael Report brings together three of my greatest passions: the arts, writing about the arts, and reflective thinking about the arts. As one of my teachers used to say, “Any artist who presents work before the public will endure the opinions of others” — a sentiment that feels especially relevant today.

As we relaunch as an online magazine, we are expanding our coverage and inviting new collaborators to write about the arts beyond theatre — our mission is to bring you voices that stimulate as much as they entertain. Whether your interest in the arts is casual, devoted, educational or professional, we strive to offer writing that is truthful, entertaining, and insightful. 

Thank you for being part of The Kael Report. Your subscription not only helps keep independent arts writing alive but also supports our philanthropic work. Each year The Kael Report will partner with a charity to offer financial and practical support to help it take the next step forward. In 2026, we are proud to be partnering with the inaugural Windrush Prize — a new playwriting award for British Caribbean playwrights — by providing financial support and professional guidance.
Happy reading, and thank you again.