When Gerard Barry chose to dress up one of Oscar Wilde’s most famous plays as an avant-garde opera, did he know what …
Review: Jonathan Miller’s Mikado (ENO)
In an age when the internet frequently loses its collective shit over mooted film remakes or sequels to old favourite…
Review: Mike Leigh’s Pirates of Penzance (ENO, London Coliseum)
The choice of Mike Leigh to direct the latest revival of Gilbert & Sullivan’s operetta The Pirates Of Penzance (c…
Review: Ah, Wilderness! (Young Vic)
Ah, Wilderness, currently showing at the Young Vic, is Eugene O’Neill’s most popular comedy. Admittedly, that’s not s…
Review: Rules for Living (National Theatre)
What exactly are the rules for living? Are they to do with making a guy wait a decade before texting him back? No dri…
Review: Carmina Burana (London Coliseum)
When was the last time a ballet could be described as dark, sexy and controversial? The Coliseum is currently home to…
Review: The Rise And Fall Of The City Of Mahagonny (Royal Opera House)
It’s not often that opera causes a riot. But when The Rise And Fall Of The City Of Mahagonny was first staged in 1930…
Review: La Traviata (ENO, London Coliseum)
Ever fallen in love with someone you weren’t meant to fall in love with? That’s the crux of Giuseppe Verdi’s opera La…
Review: Tango Fire – Flames of Desire (Peacock Theatre)
Those searching for proof of George Bernard Shaw’s view that “dancing is the vertical expression of a horizontal desi…
Review: The Ruling Class (Trafalgar Studios)
Star-vehicle The Ruling Class roars into town this week with X-Men main man James McAvoy at the wheel. Peter Barnes’ …