The production makes it very clear what we are supposed to think, which sadly detracts from the variety and ambiguity the composer worked into his score.
From Kean to Dench, the best performers radiate an electricity that transcends the stage.
A new name and haircut doth not an alter ego make.
For thrills, I would take that exit poll over Judi Dench and Jude Law any day.
The 2014 Eurovision winner already counts Cher and Lagerfeld among her fans. Now, her message of tolerance is going global.
Rock's gothic - or comic - bogeyman gives a masterclass in transformation at the Royal Albert Hall.
With screen actors taking the lead, Everyman and American Buffalo sparkle with cinematic swagger.
The Albarn-Coxon concoction sounds surprisingly robust.
Would I want my children to go into music? I do have to wonder, just as my parents wondered.
From the Grateful Dead to Arnold Schoenberg, via Tossers Wood.
Naked at the Albert Hall is a history of singing that hums with freshness and passion.
The feelings David Bowie aroused will vanish along with the fashion built around him, argued Martin Amis in 1973.
All my antiquarian rage boils at the thought that nobody thought to record Hardy.
The more we acknowledge that it hurts when someone is cruel about your appearance, the closer we might get to being kinder.
It's great being a Lib Dem - you don't have to believe in anything. For a brief moment in 1996, I thought I'd found my people.
Three titans of British culture are stepping down this year. Mark Lawson looks at their legacy – and the space they’ll leave behind.
Middle aged men are complete emotional wrecks verging on hysteria a lot of the time.
Lady Day, a century after her birth.
A subversive semi-staging of Sondheim’s Sweeney Todd brings the infamous barber back to London.
The online mockery of fans of Zayn Malik, who left One Direction the same day Jeremy Clarkson was fired, would never be levelled at grown-up sports or Top Gear fans.
The Scottish trio tell Kate Mossman why they want racists to hear their music.
Copyright law encourages artists to feel they're in control of what they've made. But in reality, a song is a different thing once it leaves its creator.
No Land's Song, a new documentary by Ayat Najafi, follows her sister Sara's fight to put on a revolutionary concert.
The Royal Opera House is a fundamentally unsuitable space for its otherwise impressive production of the satire on capitalism, Rise and Fall of the City of Mahagonny.
Binoche’s Antigone is easier to respect than to pity and, for some reason, one never really feels the pathos of her struggles.
When is an orchestra not an orchestra? The way this policy defines it, northern brass bands and Scottish bagpipe groups will be excluded from the tax relief.
"Painter/musician badly needs rent cheap."
For every successful American remake of a classic British comedy there is a handful of dreadful clangers that never make it beyond a pilot.
The new Poldark looks like a tourist board campaign for Cornwall, only with stagecoaches where there should be surfboards.
A jury's view that Robin Thicke and Pharrell’s Blurred Lines copied Marvin Gaye’s 1977 song, Got To Give It Up is based on a fundamental misunderstanding of what songwriting is.