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.
Haydn’s operas rarely get the outings they deserve, and the responsibility for that lies (unintentionally) with Mozart. So much that we take for grant...
This production of Miller’s most famous play has transferred into the West End from the Young Vic. Half of the cast has changed but the two senior rol...
Frank McGuinness has built up a formidable reputation over the past thirty years as a poet, adaptor of plays in translation, writer of screenplays and...
Red Velvet has had great success on both sides of the Atlantic since its first appearance at the Tricyle/Kiln back in 2012, and deservedly so. It is a...
Emma Rice is a wonderful example of a ‘marmite’ director, whose productions are either greeted as startlingly original interventions that make you loo...
Gluck’s contribution to the development of opera is still under-appreciated, straddling as he does the transition between the Baroque and Classical er...
‘Noises Off’ was first seen as long ago as 1982, and its many revivals since have ensured that it now enjoys a status not just as a classic farce in i...
This new play is a joint production between the Orange Tree Theatre and the Actors Touring Company. It is also Matthew Xia’s first production as artis...
As you take your seat the music of ‘The Lark Ascending’ washes across a stage carrying the outlines of a country house, and it would be easy to assume...
This first collaboration between director Ivo van Hove and the Comédie-Française is also the company’s first visit to this country in many years. The ...
