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.
Bernard Shaw’s plays, for all their number and reputation, are not often seen in London, so a revival of even his most famous work, St Joan (1924), is...
For those of us brought up on Kenneth Macmillan’s 1960s choreography it is hard to imagine the ballet done any other way. All the more so given the im...
It’s often forgotten that the members of Fascinating Aida have their own highly successful solo careers. Their songs reflect the particular emphases o...
Yet another production of Tosca – what could be new to add relish to the reviewer’s jaded palate? In fact a great deal, even though this production is...
With the worldwide change of attitudes towards the use of animals in performance contexts the world of the circus has undergone a transformation far m...
This sequence of performances is a revival of the interpretation first staged at Covent Garden in 2005, which made a major impression initially for it...
The original play from which this fine work stems was a hit on Broadway some forty years ago, and the musical version has been around for a decade. Bu...
In late 1940 Benjamin Britten crossed the Atlantic and moved in with his friend W.H.Auden, who was occupying a floor of a large Brooklyn brownstone. H...
Allegro is something of a ‘missing link’ in musical theatre history. Coming after Oklahoma! and Carousel in 1947, it has never found the audiences or ...
