wed 17/07/2019

alexandra coghlan

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Bio
Alexandra is the classical music critic of the New Statesman, and has written on arts for The Times, The Independent, The Guardian, Prospect, Gramophone, Opera Now, The Oxford Times and The Monthly. She was formerly Performing Arts Editor at Time Out, Sydney. She writes about classical music, theatre and film for theartsdesk.

Articles By Alexandra Coghlan

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CD: The Flaming Lips – King’s Head

Oh to be inside the head of Wayne Coyne. The frazzle-haired frontman has always been an enigma, persistently quirky, morally dubious, and...

The Night of the Iguana, Noël Coward Theatre review - Clive...

One of the glories of contemporary London theatre is its revivals of classic American drama. Year after year, audiences are able to revisit and...

The Day We Walked on the Moon, ITV review - it was 50 years...

It was on 16 July 1969 that Apollo 11 lifted off from Florida en route for the Moon, and exactly 50 years later, as we nervously anticipate the...

Inside the Social Network: Facebook's Difficult Year, B...

Not everybody is on Facebook, yet. So far, Mark Zuckerberg’s social media monolith has only managed to scrape together about 2.3 billion users,...

Equus, Trafalgar Studios review - passionate intensity

When he gave Martin Dysart, the troubled psychiatrist protagonist of Equus, a line in which he speaks about “moments of experience” being...

Elbow and New Order, Lucca Summer Festival review – a meetin...

Thirty-three years ago, at Manchester's Festival of the Tenth Summer, I fumed that New Order had been given top billing over The...

Whitewash, Soho Theatre review - a wild-at-heart linguistic...

This witty street-smart play about a white-skinned...

CD: Sum 41 - Order In Decline

Sum 41 were one of those light-weight punk-ish bands in unfeasibly...

Django Bates Belovèd Trio, Evan Parker, Wigmore Hall review...

"Genius" is a word to be used sparingly, but Django Bates surely is one. “A musical polymath and prodigiously gifted composer” went the citation...