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It all started on 09/09/09. That memorable date, September 9 2009, marked the debut of theartsdesk.com.
It followed some...
The Importance of Being Oscar, Jermyn Street Theatre review...
It’s a greater accolade than a Nobel Prize for Literature – one’s very own adjective. There’s a select few: Shakespearean;...
Album: Pigs Pigs Pigs Pigs Pigs Pigs Pigs - Death Hilarious
Pigsx7 have hardly got a reputation for penning tender and soulful ballads, but Death Hilarious is a particularly aggressive and...
Stiletto, Charing Cross Theatre review - new musical excess
That friend you have who hates musicals – probably male, probably straight, probably not seen one since The Sound of...
Misericordia review - mushroom-gathering and murder in rural...
“Be careful what you wish for, you might get it.” The Aesop-ian maxim roughly applies to Jérémie Pastor (Félix Kysyl) in Alain Guiraudie's...
Owen Wingrave, RNCM, Manchester review - battle of a pacifis...
It’s quite ironic that the Royal Northern College of Music should have invited, as director of this,...
Apex Predator, Hampstead Theatre review - poor writing turns...
Motherhood is a high stress job. Ask any woman and they will tell you the same: sleepless nights, feeding problems and worry. Lots of worry. Lots...
Album: Elton John and Brandi Carlile - Who Believes in Angel...
Spring may have sprung, but there’s little in life to truly raise the sprits, so this week’s release of Who Believes in Angels? ...
Balanchine: Three Signature Works, Royal Ballet review - exu...
Is the Royal Ballet a “Balanchine company”? The question was posed at a recent Insight evening to Patricia Neary, the tireless dancer...
theartsdesk Q&A: filmmaker Joshua Oppenheimer on his apo...
Joshua Oppenheimer made his name directing two disturbing documentaries, The Act of Killing (2012) and The Look of Silence (2014...