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.
‘Hymn’ is book-ended by two funeral orations but is much more of a hymn to love than anything churchy. In this case, the love is fraternal, neither ph...
As part of its winter season, and conceived very much with Covid restrictions in mind, THE RSC has adapted the most famous eighteenth-century English ...
This is a unique show from start to finish. When you arrive at the Bridge Theatre expectations are confounded. The staff guide you not into the main a...
In the Queen’s 90th Birthday Honours Professor Stanley Wells received a knighthood in recognition of his services to Shakespeare scholarship. Today, 2...
In 1612 the young artist Artemisia Gentileschi took the highly unusual step of making an accusation of rape against Agostino Tassi, a favourite painte...
Cheek by Jowl’s latest venture into the world of Shakespeare and his contemporaries take the form of a modern-dress, Italian-language version of the m...
The sheer length of a play is often no guide to the emotional sense of time passing: some short plays drag and others leave you wishing them longer. T...
Rather like Polanski’s Chinatown, this play is something of a misnomer. Just as hardly any of that famous film takes place in the Chinatown of Los Ang...
‘Luisa Miller’ is rarely performed but is still an opera of great interest, both in itself and for where it stands in Verdi’s output. Written for Napl...
This project began as a micro-play at the Royal Court in 2014 and now comes to the National Theatre at the same time ‘Albion’ returns elsewhere. It is...
