Glyn Môn Hughes
Articles By Glyn Môn Hughes
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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...
Fake, ITV1 review - be careful what you wish for
The art of the conman is persuading their victim to fool themselves, which is the premise that lies at the core of this Australian drama series....
theartsdesk Q&A: film director Déa Kulumbegashvili on he...
One of the most exciting new voices in Eastern European film, Déa Kulumbegashvili is not concerned with conventional shot lengths. She has been...
Music Reissues Weekly: John McKay - Sixes and Sevens
Sixes and Sevens is a surprise. A big one. Since leaving Siouxsie and the Banshees in September 1979, John McKay has...
Pimpinone, Royal Opera in the Linbury Theatre review - farce...
Full marks to the Royal Opera for good planning: one first night knocking us all sideways with the darkest German operatic tragedy followed by...
Krapp's Last Tape, Barbican review - playing with the l...
In the Stygian darkness of a bare room, a table on a low platform with a light hanging overhead starts to emerge. Then a door briefly...
Formula E: Driver, Prime Video review - inside the world...
The success of Netflix’s Drive to Survive not only provoked a viewer-stampede towards the world’s most expensive sport, but also...
Do Ho Suh: Walk the House, Tate Modern review - memories are...
A traditional Korean house has appeared at Tate Modern....
Die Walküre, Royal Opera review - total music drama
Wagner’s universe, in the second of his Ring operas which brings semi-humans on board to challenge the gods, matches exaltation and misery, terror...