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THEATRE REVIEW: Shun-kin, Complicite at Barbican

'Shun-Kin', Simon McBurney’s latest show for Complicite at the Barbican, is the Japanese story of servant Sasuke’s masochistic love for…

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THEATRE REVIEW: Mrs Affleck, National Theatre

If Ibsen is for all time then it seems an odd decision to plonk him so precisely in one historical…

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Opinions & Analysis

Saved from obscurity: Epstein’s 'Adam' at Harewood House

The blatant and unashamed depiction of primal energy and sexuality attracted much press coverage, shock and outrage when the work…

Features

Who said classical music was dead?

Against all the odds, the first decade of the new millennium has seen a renaissance in the classical music world.…

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THEATRE REVIEW: Tons of Money, Touring

In the hands of these skilled actors, the play succeeds in reaching a level of quality which from lesser performers…

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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…

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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…

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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…

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Opinions & Analysis

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…

Features

Cuban contemporary art

Despite the isolation of this controversial island, international curators, collectors and art dealers still fly to Havana to discover promising…

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