[3] Experimenting with various other forms of theatre, Neilson is also recognised for creating non-naturalistic plays that utilise elements of absurdist and expressionist storytelling to depict the interior landscape of their characters.

In-yer-face theatre is a label used to characterise a confrontational style and sensibility of drama that emerged in new plays (primarily written by young writers) that were performed in Great Britain during the 1990s.

[1] In the book Sierz wrote an entire chapter examining Neilson's work and three of his plays: Normal, Penetrator and The Censor.

Sierz has dubbed Neilson as one of "the big three" playwrights (along with Sarah Kane and Mark Ravenhill) associated with In-yer-face theatre,[8] whom Sierz has referred to as "the most provocative new writers of the [nineties]" who also "had an influence that far outweighed the number of plays they wrote at the time... What they did was transform the language of theatre, making it more direct, raw and explicit.

They not only introduced a new dramatic vocabulary, they also pushed theatre into being more experiential, more aggressively aimed at making audiences feel and respond.

"[9] Sierz has highlighted Neilson as "one of the first to exploit the new freedoms of nineties drama"[10] and "one of the first writers of the decade to create an experiential theatre of extreme sensations", adding that "Although often underrated, Neilson's significance lies less in his skill as a writer than in his pioneering of a form of confrontational theatre that became central to the new aesthetic of British drama in the nineties.

"[12] Sierz has defined 'experiential theatre' as describing: the kind of drama, usually put on in studio spaces, that aims to give audiences the experience of actually having lived through the actions depicted on stage.

Instead of allowing spectators to just sit back and contemplate the play, experiential theatre grabs its audiences and forces them to confront the reality of the feelings shown to them.

After chasing up for an explanation for the board's decision Unifaun Theatre received a letter from the police commissioner outlining the reason for the ban: “1.

However, if they prosecute us under the Criminal Code for violating obscenity and public decency, we risk a prison term of between 1 to 6 months."

Our obligation is to follow it.”[15] In response to the ban the British theatre critics Andrew Hayden[16] and Aleks Sierz condemned the board's decision.