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.
Through the medium of the ‘Graceland’ album and the international fame of Ladysmith Black Mambazo we think we are familiar with the sound world of Sou...
Jack Thorne’s play originated at the Edinburgh Fringe before touring widely in 2017. But for most likely audience members this will be a new play. It ...
Peter Gill offers us here a gentle, subtle memory play focused on two elderly gentlemen looking back on their lives in a mixture of wry regrets and pa...
I was fortunate enough to review ‘Immortal Tango’ at the Peacock back in 2016, and here the same team present another superlative show that slides pas...
Fresh from his success in ‘Handel/Glass’, counter-tenor Anthony Roth Costanzo joins pipes with cabaret star Justin Vivian Bond for a repeat of their r...
The Studio at the Bush Theatre currently hosts an hour-long two-hander devoted to driving lessons. Or so it appears. Two car seats, a gear stick and a...
The season at Regent’s Park closes with a reworking of Sophocles’ Antigone by Inua Ellams. The framework of key familial relationships in the original...
This new play at the Young Vic operates on a number of levels. On the face of it, the play is a family drama woven into a stand-off at a clothing fact...
‘The perfect summer came to pass, but not to stay.’ This line from near the end of Mark Adamo’s contemporary opera captures the key theme of this comi...
