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Interdisciplinary artist Lee James Broadwood works as a live performance mentor, offering support, guidance and advice to theatre and performance artists in London, UK, and across the globe. My Theatre Mentor Providing support, guidance and advice to theatremakers and live performance artists in the UK and around the globe Why are theatre mentors useful? Having deeply researched a vast range of performance styles, techniques and training types, a live performance mentor is aware of current and historical trends and methodologies within the industry and can inspire your creativity and maintain accuracy and artistic integrity in your performances. What is a theatre mentor? A theatre mentor supports theatremakers and live performance artists in the realisation of their vision, assessing all aspects of your performance and guiding you to make original and intelligent decisions in your work. PRIMARY FOCUS To understand my clients' artistic visions and to help them discover exciting, creative and perhaps challenging means of communicating and expanding them through performance. TRAINING, SUPPORT AND GUIDANCE CREATIVE AND COHERENT COMBINATION of all theatrical components: acting, texts, movement, set, lighting, sound, music. Consu ltations Discussion-Based S essions See More Book a consultation to: — receive advice on performance-making methodologies. — present, discuss an d refine work-in-progress ideas and materials. — receive/revisit in-person feedback on performances. — discuss theatre and performance theories and their potential application. Performance Analyses Professional, Detailed Feedback See More Bespoke, in-depth feedback on any type of live performance at any stage of development. — physical, written feedback to revisit a nytime. — shared privat ely and confidentially. — focused on your specific areas of concern. — non-contact-based for artists with social anxiety. Workshops Practical Support and Training See More Book a workshop to: — receive bespoke actor training. — refine existing performance content. — trial new methods of generating material. — improve team morale and ensemble efforts. CHOOSE YOR SESSION PLAN Rapid-Advice Sessions = 30 mins for new clients and those wanting quick guidance on specific issues One-Off Sessions Introductory / Rapid-Advice Sessions: £15 for 30mins Per Hour: £30 Half-Day Sessions: £75 Full Session: £100 Half-Day Sessions = 4 hours Full Sessions = 8 hours Monthly Subscription One Half-Day Session Per Week: £175/month (SAVE £125) From April 2025: Exclusive access included to essays and online materials for only £10 extra PREFER A WRITTEN ANALYSIS? View My Public Analyses Request Your Analysis Viewing as a Theatre Venue Owner? Discover Partnership Opportunities Contact Me

Interdisciplinary artist Lee James Broadwood partners with theatre and performance venues to offer services to clients as a live performance mentor, offering support, guidance and advice to artists in London, UK, and across the globe. MY THEATRE MENTOR: THEATRE PARTNERSHIPS I am currently developing partnerships with fringe, pub and off-West End theatres, to support venues interested in expanding the services they provide to theatre and performance artists. My service is tailored towards artists aiming to develop their craft and to reflect critically upon their performance and/or performance text/scores/choreographies. It is intended for writers, choreographers, directors, dramaturges, actors and live performance artists at any stage of their career and with performances in any stage of development. Recommend my services to your visiting and resident artists In Exchange, I Can signpost clients, when applicable, to the facilities and activities of the theatre and to any members of the theatre’s tech/design crews, their freelancers, etc. All partnership terms are negotiable. Resources will be provided to support you with recommendations. Viewing as a Theatremaker, Performance Artist, or Troupe? Discover My Services Contact Me

Lee James Broadwood's website, home to the London-based interdisciplinary artist's work, services, and publications. LEE JAMES BROADWOOD Interdisciplinary Artist: Live Performance and Creative Media About Me Audiovisual Content Live Performances Written Content My Website Highlights Poetry Anthology my most recent publication, now available for purchase! More Info Order Today

My Theatre Mentor Lee James Broadwood analyses THE SWAN, THE WEREWOLF AND GIANPIERO, COLAB Tower, London. This analysis has been written in the new Letters from a Mentor format introduced in July 2026. For more information on this format, visit this publication. Dear Agata, Your company’s idea to combine your performers’ interest in tango with your own experience in and pursuit of theatre work is a wonderful concept. Dance — and particularly tango, being so passionate and potentially violent in its rigidity and angularity — is an excellent foundation for the plot you have chosen, which demands tension, animosity, desire and ferocity. However, there are a few major concerns I have with this performance which compromise its integrity and efficacy, and the first of these is clarity. It is clear you intend to conceive an intricate plot with multiple twists and turns and in a melodramatic style most synonymous with tango. However, the result of this is a much too complex narrative presenting a wide range of developments and events that together seem incoherent and excessive. The effect is convolution and hence dilution: it is easy to become lost with the plot developments, and this dampens emotional engagement, intrigue and thus investment. In hearing others divulge their thoughts, it was apparent to me that this was a general sentiment across audience members. We have a play within a play, dance sequences (which suffer themselves from this convolution–dilution, upon which I am happy to elaborate), concealed identity, misidentity, fantastical creatures (werewolves) and far-out characters (billionaire), and all of this is topped with a melodramatic style and ludicrous plot developments — there is a lot to wade through and in a period of time so short that none of these can truly be sufficiently explored. The uniquely most explored element of your play is the titular character of the rich playwright Gianpiero (James Wilkinson). This character is the most established and the clearest simply because his intentions are plainly laid out. He is identifiable in his pomposity and egoism. He is the rich boy who has always gotten his way and has always been in the limelight. He is instantly recognisable, and this was particularly stand-out and useful in a performance with such chaotic content. While it is not entirely elucidated what Gianpiero’s play is and how it functions, both as an artistic work and as a “real-world” vehicle of marriage, it is clear that this self-righteous and entitled playwright wants notoriety in making successful and renowned theatre works and will tread over anyone in order to get it. One reason his presence as a character is so successful, not due only to Wilkinson’s excellent characterisation, is because we have present the correct formula for setting up tension: an antagonist’s goal. However, the lack of clarity as to of whom or of what exactly Gianpiero is an antagonist takes the steam out of this tension and compromises its payoff. Photography credit: Sasha Karakadzai It is clear that tension is an intended significant focus for your work here — from the very beginning, we are launched into a conflict between the characters, wherein your character, Roxana, is late for her own performance, prompting a quarrel between her and Mateo (Esteban Mereles), who clearly have some history together. However, what this history is is not explicated, which is an important omission for a play like this: the audience needs to know why they care that the characters are not functioning together; there should be a definitive, emotion-driven reason to stay invested. Why is Roxana so sceptical of Mateo’s potential love affair? Where does that jealousy come from? Is it from their relationship history itself or from projected personal traumas? This lack of reason is a significant recurrent issue in this performance, and it compromises the efficacy of later plot developments: for example, while we can clearly see this is a dysfunctional relationship, it is more difficult, nay impossible, to understand why Roxana should be so maddened by Mateo’s existence that she should be driven to threaten to, and succeed to, shoot him. Intention is the touchstone of tension: once we know that two characters have opposing intentions, we become extra alert as audience members about how this will play out. I would love to offer you more guidance on how circumstances, setting and consequence can allow this tension to culminate in a plot development that feels relevant, earned and complete — and furthermore on how tango is currently being used in your performance versus how it could be used as decisive choreography to extract, spotlight, intensify and progress character intention/motivation and plot. I welcome you for further guidance on any or all of the following, which I have categorised into priority levels to pinpoint aspects I feel are most critical for us to work on together: Ensuring tango is incorporated accurately and as a progressor of character relationships and plot. (High priority) Reconsidering offstage conduct: eliminate distractions from off stage which compromise illusion. (Medium priority) Ascertaining clarity in complex plots: character arcs, and narrative and act structures. (High priority) Stylising characterisation: organic delivery for heightened and melodramatic character profiles. (Low priority) Developing engaging character profiles with depth: considering motivation, intention, values, and objectives. (High priority) Considering audience function: interactions with audience members. (Medium priority) Conceiving relevant interstitial scenes. (Low priority) Or if you have any questions or sparked ideas from this feedback, I would love to hear from you with these. For My Readers Are you working on your own performance and wanting to receive bespoke, detailed guidance and feedback? If you feel a written performance analysis, — or a live consultation or workshop — would benefit you, I welcome you to reach out to me to book your own! You can easily reach me through whichever channel is most convenient for you: DM me at @mytheatrementor on Instagram, on X, or on Facebook. Send me a WhatsApp Business message: +447364 189 667 Email me: contact@leejamesbroadwood.com Via my website's Chat Function: Use the 'Contact Me' button on the bottom-right of your screen. Find out more about my mentorship service here.

After a break from public analyses, I’m thrilled to be back and am ready to dive back in with open arms! A few exciting things have evolved since my last publication, and so I wanted to take a moment to reflect on how every stage of this journey shaped the upgraded service you see today. Want to skip to the parts relevant to you? Click below for links to specific information on: Star Ratings Public vs Private Analyses New Format for Analyses: Letters from a Mentor Follow My Theatre Mentor on Social Media “My Theatre Mentor”: An Evolution I have always valued bespoke, deeply tailored feedback. Right from the beginning back in 2017, my performance analyses were never meant to be quick commercial reviews; they were intricate, extensive, and constructive deep-dives designed to truly serve the creatives who requested them. When I first started this service in 2017, I had no online audience and needed a surefire name so that readers would instantly understand. So, I chose a name that was transparent as possible: “The Theatre Reviewer“. But, really, my service was far more niche than that of a reviewer… One year in, with 200 monthly readers, I felt it was time for a clarification of the service I provided. As my work was more aligned with a performance critic, my work spanning far beyond traditional plays to include performance art, dance, circus, and applied theatre, my title evolved, aptly, to “The Performance Critic”. Then, in 2021, I introduced two new services: consultations and workshops, both available to clients in person across the UK and virtually internationally. I wanted to provide more than just written advice; I wanted to demonstrate my theories in practice, help clients to work on their performances in real-time, guide them through the theories I had raised in feedback, and show them how to apply them to the performances they were working on. In 2023, I decided another change was necessary: I realised my work had shifted, expanded, into the territory of a mentor. Another name change?! Absolutely! I felt “The Live Performance Mentor” captured my evolved service a lot more closely and with the same immediate legibility of my original title. But what really is a “live performance” mentor? It turned out that it was quite confusing to people. It was difficult to explain in one sentence how "live performance" differs from "theatre" without giving an overview of what “performance” even means… I needed better branding. And so…what I believe is my final name change has been decided! My Theatre Mentor I feel this name perfectly captures my work with clients in consultations and workshops while also being entirely legible for outsiders. Everyone knows what "theatre" is, and everyone knows what a "mentor" is — the perfect name! And, of course, I still welcome circus, dance and contemporary performance art as warmly, openly and readily as I do traditional straight plays, musical theatre, and Shakespeare. Private and Public Analyses In 2021, my analysis work started to become a business. I had a steady stream of regular clients, multiple services to offer, and a schedule that filled up fast months in advance. I also had my own projects and productions for my availability to contend with. But there were still a great number of clients that valued detailed and unbiased written feedback. What's more, with the sensitive nature of my work, they preferred this feedback to be confidential. And so the private analysis was born! Private analyses, I found, bridged a gap: it created the space I needed to dedicate real time to each client and deliver genuinely impactful work while honouring the demand for written and confidential feedback. I wanted my service to be affordable but also sustainable, and this was considered in my pricing. But supporting the creative community still remained a top priority. I regularly had talented creatives asking for my work, and even though I have always aimed to make my services affordable, there were many who simply didn't have the budget for the mentorship they really needed. So, I created a dual system to ensure that no one was left out: high-impact private analyses alongside a set quota of 2–3 public analyses per month. The public versions are slightly more concise, to keep them sustainable, but they carry the exact same rigour, depth, and care, giving accessible support to creatives who need it while also showing potential clients precisely what I deliver. Star Ratings I did have a problem, though: the earlier analyses I had published included something I despised... Star ratings! Star ratings are, to me, highly subjective responses and ones that ultimately mean nothing in an industry that issues 4 and 5 stars out pandemically. Indeed, my approach is for my feedback to be as objective and as meaningful as possible: my personal emotional response to my clients' work isn't important; whether I personally enjoy their work isn't important. What's important to me — and to them — is their growth, the integrity of their work, and the quality and refinedness of their creative decisions. But I couldn't outright refuse to include star ratings, because so many creatives want — or need — them. Indeed, it is the case that some theatres have as a condition when considering hosting performances to see star ratings along with theatre reviews. A dilemma! Adopting an approach I felt was closer to my beliefs but that would also benefit those who desire star ratings, in December 2022, I stopped offering star ratings by default, providing them only upon request. But as my client base has grown, and as readers have grown to know the analysis type I offer, star ratings have become less and less essential, valued less than my detailed feedback, for which I am most appreciative. A New Format: “Letters from a Mentor” Even with those shifts, something still felt missing from the written analyses. Recently, coming back to offer written public analyses and looking back over past publications, I noticed how writing under time pressure and consequent word limits had stripped away the warmth of my feedback, leaving it feeling clinical, sterile, and detached. They didn't reflect the warmth, kindness, and personal connection that defines my live consultations and workshops and that my clients know me for. At times, I even found them sounding harsh and hypercritical. Yet, at the heart of my work is a deep sensitivity to creatives. The written feedback needs to reflect that. So, I’m making two major changes: As expressed above, I find the rebranding to “My Theatre Mentor” a lot more personal. After all, I'm here to offer bespoke and 1:1 support to you as my client — as your mentor. Starting from July 2026, I am shifting the format of my public performance analyses to a format I am affectionately calling “Letters from a Mentor”. Moving forward, as the name suggests, these analyses will be written as personal letters addressed directly to the creative(s) who requested them. They will still offer the rich, complex, and detailed insight my clients expect — and in a way that outside readers can easily follow and appreciate — but the tone will be personal, supportive and kind, encouraging collaboration and development. It is important that readers — but also theatre/performance venues that would host my clients' performances — understand that we are all at a different stage of our creative development and that, regardless of how later a stage this is, we can always improve. My analyses are not intended to be denigrations or criticisms; they are personalised guidance, support, tips and tricks. However, in a world where we all compare ourselves to one another — and particularly in the dog-eat-dog theatre industry — it is important that my analyses be recognised as bespoke mentorly reports on how a performance can be improved. By nature, they inherently enumerate a great number of aspects and areas that need refinement, and they should never be taken at face value as an extensive list of all the things “wrong” with a performance that “shows no value“ elsewhere — this is never my intention. Letters from a Mentor is the perfect format, I think, to ensure that this is all understood — and at first glance — by anyone who reads my analyses, requesters and external readers alike. Looking Ahead With these changes, I feel my practice offers a complete toolkit for theatremaking creatives. Best of all, I remain deeply committed to keeping these services accessible and affordable in an industry that is all too often financially precarious. But the journey doesn't end here! I am always seeking to refine my own service, practice and craft, and so I welcome you to continue to give your feedback: What do you think of my services? What do you think of the new Letters from a Mentor format? There are a few ways to let me know — you're bound to see one that suits you! DM me at @mytheatrementor on Instagram, on X, or on Facebook. Send me a WhatsApp Business message: +447364 189 667 Email me: contact@leejamesbroadwood.com Via my website's Chat Function: Use the 'Contact Me' button on bottom-right of your screen. Thank you for growing with me since 2017! I can’t wait to embark on this next chapter with you!

In 2021, I introduced private analyses as a means of providing bespoke, detailed, and confidential feedback to clients on their live theatre performances. Though I release a limited quota of 2–3 public analyses every month, these are booked fast, making a private analysis the ideal choice if you want guaranteed priority and a more personalised experience. Key advantages include: The best way to request a private analysis is to contact me by email, including all the details of your performance in an official press release: contact@leejamesbroadwood.com. Unsure which option is right for you? Both analysis types are delivered with a personalised list of recommended support and resources tailored specifically to your performance, meaning you could opt for a more concise private analysis for a solid foundation, with the option to request further guidance later. When making your selection, please note the following: *Some clients are particularly happy with the feedback they receive and want to share it. To facilitate this, private analyses may be made public upon request but will not be refunded once published.​ **Word counts for private analyses are calculated in multiples of 250 and allow for a 10% margin above and below the estimated total count. Public analyses are not available for private performances and recordings/livestreams; only private analyses may be requested for these. I'm deeply committed to supporting emerging artists with free public analyses whenever possible. To keep this programme sustainable alongside my paid commitments, free analyses are delivered based on current availability and, by nature, have a longer wait time. For guaranteed turnarounds or confidential feedback, priority private analyses are recommended. I know how vulnerable it can feel to share your work, and these analyses are detailed and in-depth. So, for your comfort, any public analysis can be converted to a private, confidential analysis upon request at the same private analysis rates outlined above. As of July 2026, both analysis types are written in the Letters from a Mentor format. I'm curious what you think! Do you like the concept of private analyses? Can you see how these would benefit you or your company when developing theatre work? I'm always listening to my clients' thoughts, needs, and desires, and there are a few ways to let me know yours — you're bound to see one that suits you! DM me at @mytheatrementor on Instagram, on X, or on Facebook. Send me a WhatsApp Business message: +447364 189 667 Email me: contact@leejamesbroadwood.com Via my website's Chat Function: Use the 'Contact Me' button on bottom-right of your screen. I look forward to hearing from you!

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