Tim Hochstrasser is a historian teaching early modern intellectual and cultural history at the LSE. He has a long-standing commitment to the visual, musical and dramatic arts, and opera above all, as a unifying and inspiring vehicle for all of them.
Rags tells the story of Rebecca, a Jewish immigrant from Eastern Europe, and her son David. Despite not meeting the immigration restrictions, they mak...
When Bernard Shaw wrote that ‘Othello’ was ‘a play written by Shakespeare in the style of Italian opera’, he was onto something more than just a witty...
Why is Bernard Shaw now so rarely performed? At the time of his death in 1950 he was considered the finest living dramatist within the British Isles, ...
When you learn that a performance of this play will only last a little over an hour it is a shock to the system. In Chekhov you generally expect time ...
This opera is one where the biographical context of the composer is more than usually relevant. With his health failing in the early 1970s and a heart...
This year is the thirtieth anniversary of the publication of Joe Simpson’s remarkable memoir, Touching the Void, later made into an equally successful...
Haydn’s operas rarely get the outings they deserve, and the responsibility for that lies (unintentionally) with Mozart. So much that we take for grant...
This production of Miller’s most famous play has transferred into the West End from the Young Vic. Half of the cast has changed but the two senior rol...
Frank McGuinness has built up a formidable reputation over the past thirty years as a poet, adaptor of plays in translation, writer of screenplays and...
Red Velvet has had great success on both sides of the Atlantic since its first appearance at the Tricyle/Kiln back in 2012, and deservedly so. It is a...
