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THEATRE REVIEW: Plonter, The Pit
The play is a tangle in several senses: it is an ensemble piece performed in Arabic and Hebrew with English…
THEATRE REVIEW: Primary Voices, Quicksilver Theatre
Surreal, funny, entertaining, imaginative - Primary Voices gives its audience an exclusive look into the minds of young Londoners, and…
OPERA REVIEW: Die tote Stadt, The Royal Opera
Korngold’s score, expertly conducted by Ingo Metzmacher, is an intoxicating web of mournful longing and nostalgia: a dead city made…
Platform 10: Unfriendly Fire
Stoddart’s outburst doesn’t parallel the Establishment having a swipe at the upstart refuseniks, because today’s usual suspects are at the…
Cuban contemporary art
Despite the isolation of this controversial island, international curators, collectors and art dealers still fly to Havana to discover promising…
THEATRE REVIEW: A Midsummer Night's Dream, RSC
A Midsummer Night’s Dream is littered with arcane references to obscure concepts and ideas with which a modern audience may…
THEATRE REVIEW: Every Good Boy Deserves Favour, National Theatre
Mere minutes after the start of Tom Stoppard and Andre Previn’s Every Good Boy Deserves Favour at the National Theatre,…
Poetcasting
You have heard of Podcasting, but have you heard of Poetcasting? Alex Pryce has come up with an inventive way…
DANCE REVIEW: Les Sept Planches de la Ruse
Exotic in its discipline, this show is an extended and unusual object animation using the brushstrokes of Beijing opera.
The History of Week Ending
Week Ending was, from its inception in the 70s to its demise in the late 90s, BBC Radio’s flagship topical…