Jonathan Kerridge-Phipps

Jonathan Kerridge-Phipps has written 12 articles for Nouse

If….

“It’s a natural characteristic of adolescents to want to proclaim individuality… It’s a quite blameless form of existentialism”

Hedwig and the the Angry Inch

If theatre is to maintain its grip upon the imagination, it must transgress as much as it seeks to entertain

Julius Caesar

41 Monkgate, an underused and underrated diamond-in-the-rough of York ’s theatrical spaces, was the perfect setting for a production that could have been sub-titled ‘Something is Rotten in the State of Rome’

The Homecoming Revisited

It could be said that the most serious mistakes are to be made in pursuit of the most serious aims. In the past few months I have begun an honest attempt, within these pages and elsewhere, to learn the fundamentals of writing serious criticism

The Homecoming

By plucking a glittering star out of the firmament, director Damian Cruden has had his hands burned

Absent Friends

What is it about the Seventies, those beige and benighted years, that so appeals to the young directors of Dramasoc, and indeed to their audiences?

The Wonderful World of Dissocia

What followed, until the interval at least, was a colourful, imaginatively blocked and energetically performed ramble that was as cacophonously funny as it was, at times, grotesquely macabre

Fish, Chips and Mushy Peas

A laudably brazen piece of theatre which attempted to take its audience in a playful half-nelson from the off, and hold it there in perpetuity

Vicky Cristina Barcelona

It provides a piece of unbridled escapism that is as enjoyable as it is ultimately shallow

Equus

Charlie Bruce’s staging of Peter Shaffer’s Equus did not so much go off with a bang, or indeed a whimper

Celebrity

“We have become obsessed with fame, and in ways which seem to be making skill or talent unimportant. Celebrity has become a major life-plan, and many seem to think that nothing is required on their CVs.”

Kingdom Come, J.G. Ballard

To know the work of James Graham Ballard intimately is to understand how limited in scope we are as mere mortals.

At his best, Ballard writes like a perversely erudite angel; a transcendent thinker capable, as Jean-Luc Godard is in his films, of lifting the veils from our faces and showing us a completely different world