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.
The story of the knight-errant of La Mancha and his loyal squire is not only one with which we are familiar, but it is also one that has taken up resi...
It is rare for French dramatists to score a series of successes on the London stage, and yet Florian Zeller, aided by the expert translating skills of...
This play is the creation of Jonathan Lewis, working with and through the Soldiers’ Arts Academy. This remarkable charity recognises that the rehabili...
Henrik Ibsen wrote this play at the height of his powers in 1884. While not performed that often in comparison with – say – ‘Hedda Gabler’ or ‘A Doll’...
This new play by Matthew Lopez transfers to the West End trailing a glowing portfolio of reviews and with most of its original cast. The production, d...
This thriller was produced to acclaim at the Camden venue Theatro Technis last year and returns now for a welcome second outing, with mainly the origi...
First performed in 1905, ‘Salome’ was Strauss’ breakthrough opera, and is still perhaps the most startling despite all the later successes in collabor...
Treatments of the Faust story abound in many languages, musical and literary formats. It is a bold and brave endeavour on the part of composer Simone ...
In the programme for this new production of Othello, director Claire van Kampen states explicitly that she is aiming for a two-hour running time and a...
Samuel Barber’s Vanessa (1958) is a work at once accessible and elusive, and a successful production revolves around breaking down that paradox and re...
