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.
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...
After a long period of closure the flexible creative spaces of Hammersmith’s Riverside Studios are open once more, though not yet complete. A wide, we...
This production is a revival of Lucy Prebble’s debut play from 2003. For those who only know her work through the grandly ambitious themes of ‘Enron’ ...
This new play written by the renowned actor John Kani is a co-production between the RSC and the Fugard Theatre, Cape Town, and comes to London after ...
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...
