DOUGLAS FIELD relishes the hard-boiled language, satire and humour of the third and last of the Harlem trilogy
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Orphee, London Coliseum
Classic Cocteau film gets trademark treatment from Philip Glass
Jennifer France (right) as death
[Catherine Ashmore]
STEPHANIE BROWN draws attention to the hidden labour of the female embroiderers, and how a 19th century replica made no such error
MIK SABIERS revels in a band that ploughs an idiosyncratic furrow of expletive laden, guitar-driven alt rock
ANDY HEDGECOCK, MARIA DUARTE and ANGUS REID review Synthetic Sincerity, Our Hero, Balthazar, Heartstopper Forever, and A Year In London
The bard invites readers to a gig, raps for Clacton, and lays out the Burnham-Hurzeler conundrum
RON JACOBS recommends an important book that enhances the oppositional theories put forth by Fanon and, in doing so, remakes psychology itself
THE fourth and final staging of ENO's ambitious Orpheus Series is arguably the most anticipated yet.
When ENO last staged Glass, with Phelim McDermott’s production of Akhnaten earlier this year, it was a resounding success and is currently enjoying a run at New York's Metropolitan Opera House.
However its first three operas about the Orpheus legend have had mixed reviews with empty seats prompting ENO to sell tickets at half price.
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DAVID NICHOLSON recommends the staging of this Wagnerian classic minus one or two insignificant quibbles
GORDON PARSONS is blown away by a superb production of Rostand’s comedy of verbal panache and swordmanship
DAVID NICHOLSON is thrilled – and shocked – by an opera that seethes and sizzles with passion and the depraved use of power