Chas Rader-Shieber’s conflation was simultaneously over-conceptualized and insufficiently thought through.
Inis Nua’s Scottish import teeters between grim uncertainty and twinkly charm.
There’s little here about love, but the show suggests that obsession lasts forever.
Two final events at O18 sum up the wonders of this extraordinary festival.
An important but rarely produced American play gets a reboot from a South African company.
In this enchanting show, the second act is the charm.
Blythe’s virtuosity actually anchors the show to opera; Martha not so much.
Imagine you are at Disneyland, and there’s an Anthony Roth Costanzo ride.
If only Donizetti’s Lucia di Lammermoor, a setting of Walter Scott’s gloomy novel in which the heroine is traded like a piece […]
The two-part evening starts arch, but ends in triumph.