"It's rare to come across a piece of theatre that is so gloriously and absolutely itself as this sparks-flying homage to grime music... one of the most exciting things I've seen all year... this poet deserves to be front & centre." ?????

Evening Standard

An ode to [grime], performed as a poetic monologue but also a kind of grime musical... Stevenson maintains raw energy and passion and it is thrilling to see grime as a mode of theatrical storytelling. The heartstopping moments, though, are in the spoken-word poetry, when words blaze the stage and Stevenson appears like the Kate Tempest of grime. ????

Guardian

Like Stevenson's sprinting lyrics, Ola Ince's production oozes assurance... the skill with words clings.

The Times

A gutsy, gritty breath of fresh air – a galvanising love letter to the music that allowed her to escape her claustrophobic East London upbringing... Stevenson is a witty wordsmith, spitting punchy, rapid-fire bars on education, on religion, on politics and everything in between, weaving in a classically structured coming-of-age rebellion story of a repressed teenager finding their voice through music... best of all, Poet In Da Corner is alive to its own innate complications... an energetic, exuberant gig-theatre show, built with theatrical savviness on Dizzee Rascal's iron-strong foundation." ????

WhatsOnStage

Putting grime in a theatre space is always going to feel weird, and 'Poet in da Corner' is endlessly aware of what it means to put a white girl in the middle of this story and this theatre. Does it do enough? I guess I'm not the right person to answer that question. But Stevenson's performance feels undeniable, soaked in the sweat of a '00s east London that's not quite Dizzee Rascal's, but authentically hers. ????

Time Out London

Christian is a delicate and thoughtful writer, deftly handling the moral complexity of her material

The Guardian