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.
Since its first performance in 1945, ‘Peter Grimes’ has never left the repertory and its status as a masterpiece of twentieth-century opera has never ...
‘Strange Fish Theatre’ perform a very valuable role in bringing to the UK the best of Irish playwrighting, whether classic or more recent. Their last ...
Maria Friedman closely collaborated with three composers who have died in recent years – Marvin Hamlisch, Michel Legrand and Stephen Sondheim. This lo...
There are obvious attractions behind offering a double-bill for the Spring opera slot at the Guildhall: a variety of mood and the fullest spectrum of ...
‘Proud’ is adapted by Bren Gosling from his novel depicting the interactions between three characters in contemporary London. Roland is in his forties...
This new and welcome study of the history of the musical in Britain fills -incredibly – a major gap in the literature, as there is no other single vol...
This musical is unusual in at least two respects: it was both cancelled and then remade by 9/11, and it must have one of the most unlikely scenarios o...
This is one of those plays where it does help to read the interviews in the programme. Even more than usual with Florian Zeller this new work opening ...
Less well known than ‘The Bald Primadonna’ and ‘The Lesson’, this play is perhaps the most daring and original of Ionesco’s early and highly original ...
Tucked away behind the main Edwardian wedding-cake of a theatre in Wimbledon is a black-box studio theatre currently housing a revival of David Drake’...
